#belief — Public Fediverse posts

A quotation from Eric Hoffer

The truth seems to be that propaganda on its own cannot force its way into unwilling minds; neither can it inculcate something wholly new; nor can it keep people persuaded once they have ceased to believe. It penetrates only into minds already open, and rather than instill opinion it articulates and justifies opinions already present in the minds of its recipients. The gifted propagandist brings to a boil ideas and passions already simmering in the minds of his hearers. he echoes their innermost feelings. Where opinion is not coerced, people can be made to believe only in what they already “know.”

Eric Hoffer (1902-1983) American writer, philosopher, longshoreman
True Believer: Thoughts on the Nature of Mass Movements, Part 3, ch. 14, § 83 (3.14.83) (1951)

More about this quote: wist.info/hoffer-eric/11263/

#quote #quotes #quotation #qotd #erichoffer #agitprop #belief #confirmation #confirmationbias #conviction #disinformation #fear #ideas #justification #opinion #passion #predisposition #prejudice #propaganda #reinforcement #truebeliever

Can't get more straight forward or honest for once ...

#trump #USpolitics #politics #poverty #humanrights #finances #government #leadership #responsibility #truth #christianity #religion #church #belief

Ben Cremer ... speaking wisdom.

We never learn. We should be feeding and caring for and housing people, not indulging in vanity projects. (my 2c).

#politics #uspolitics #trump #christianity #religion #belief #humanrights #cult #poverty #truth #foodstability #housingstability

#apologetics, #belief, #understanding, #religion, #discussion https://mastodon.social/@chrissbiblenewsletter/116540751435594773

The Economic Faith: Is Capitalism Optional?

Everybody has the right to choose, hold, and practise their own religious beliefs. Therefore, no one should be forced to believe in and participate in capitalism, directly or indirectly, passively or actively. If it is true that capitalism is solely an economic system, other economic systems are free to exist in parallel as well, such as mutual aid and others. But no, people enforce it, and the only way to survive is to do capitalism. Therefore, capitalism is a forced religion nowadays.

#economics #society #philosophy #justice #capitalism #freedom #rights #community #mutualaid #life #ethics #change #system #humanity #future #politics #survival #belief #equality #growth

The States That Will Not Be Commanded

There is a class of human experience that answers to no direct order. You cannot tell yourself to fall asleep. The instruction arrives at a locked door. Sleep refuses the simple transaction of command and execution. Instead, it assembles itself once certain conditions are present, and those conditions include, strangely enough, the act of picturing yourself already inside the state you are trying to enter. Lying down begins it. Closed eyes continue it. Imagining yourself asleep, entering the self who has already arrived, completes the condition, and only then does sleep agree to appear.

This is stranger than it first appears. The imagination precedes the fact. A fiction makes the reality possible. Rehearsal of the self-in-the-state must happen before the state itself will consent to arrive. Once you notice this mechanism operating in sleep, you begin to see it everywhere in human life, running underneath experiences we mistakenly believed we commanded outright.

Aldous Huxley named the pattern in The Perennial Philosophy and called it the law of reversed effort, a phrase Alan Watts later carried into wider circulation. Viktor Frankl, working from the clinic rather than the lecture hall, called it paradoxical intention, and used it to treat patients whose anxieties had swallowed them whole. The insomniac who tries hardest to sleep stays awake longest. The speaker who strains to stop stammering stammers worst. Frankl’s counterintuitive instruction was to command the symptom itself. Try to stay awake. Try to stammer. The paradox broke the grip because it acknowledged a humble fact about voluntary will: the target state cannot be seized. It must be invited, imagined, allowed.

Taoists arrived at the same recognition two thousand years earlier and called it wu-wei, the action that is not action, the doing that happens when the doer gets out of the way. An archer who aims too hard misses. A calligrapher who grips the brush too firmly produces a dead line. Skill of that order lives in a zone the conscious will cannot enter, and the only approach is to imagine yourself having already arrived.

Consider sexual arousal. The physiological response is famously resistant to command. It answers to imagined scenarios, to remembered encounters, to anticipated scenes. Masters and Johnson built an entire clinical practice around this recognition, and their cure for performance anxiety, sensate focus, works by replacing effort with imagined sensation. A man instructed to perform often cannot. The same man, invited to picture the experience without obligation, finds his body following his mind into the state. Arousal answers to conjuring.

Consider crying on cue, the classical actor’s problem. Stanislavski solved it through affective memory. The tears come by indirection. You imagine the dog you lost when you were nine, and water arrives because the body has been invited to the feeling rather than ordered to produce it. Meryl Streep has described her process in interviews as a summoning of remembered feeling. Daniel Day-Lewis has described his as an inhabitation sustained across months. Neither description sounds like command. The actor imagines the self-in-grief, and grief supplies the water.

Consider the act of belief. Pascal, sitting in his Pensées alongside the famous wager, offered an argument about habituation that has been quietly underestimated for centuries. For those seeking faith, he advised acting as if they already believed. Kneel. Take the holy water. Say the prayers. Imagine yourself as a believer, and belief may arrive as a secondary effect of the performance. William James extended the line in “The Will to Believe” and argued that many truths about ourselves only become true after we have imagined them as true. Courage is one such truth. Generosity is another. Love, perhaps most of all.

Athletes at the top of their disciplines understand this mechanism as technical knowledge. Jack Nicklaus, in Golf My Way, said he never hit a shot, even in practice, without first seeing the ball’s flight in his mind. Swimmers rehearse the race in imagination with such precision that brain scans show neural activation patterns overlapping substantially with actual performance. The body runs the course in miniature before it runs the course in fact. Physical execution follows the mental simulation because the state has already been entered once, invisibly, and needs only to be entered again with flesh attached.

Hypnosis is perhaps the cleanest case. An unwilling subject cannot be forced into the hypnotic state, and even a willing one cannot seize it by direct will. The subject must imagine entering the state, going down the staircase, growing heavy in the chair, and that imagining is the mechanism itself. Imaging studies by David Spiegel and colleagues at Stanford, along with related work by Oakley and Halligan, suggest that hypnotic suggestion produces neural patterns distinct from ordinary pretending, patterns more closely aligned with genuine perceptual and motor processing. Imagination has done something to the body. Fiction has produced a physiological effect the subject did not will.

Creative inspiration operates by the same architecture. You cannot command an idea to arrive. You can imagine yourself as receptive, empty, waiting, and the idea tends to arrive into that imagined vacancy. Keats called this negative capability, the capacity to sit inside uncertainty without grabbing for resolution. A poet imagines the listening state, and the poem walks into the room. Composers describe the same choreography. Mathematicians describe it too, with Poincaré’s famous account of the solution arriving as he stepped onto the bus at Coutances. He had imagined himself receptive for weeks. The solution waited until it found him properly prepared to receive it.

Grief resolution belongs in this same family, though we rarely recognize it. Bereaved people move through grief by imagining themselves on the other side of it. Picturing a future morning when the first thought lands somewhere other than the absence. Picturing the moment when the dead person’s name can be spoken without collapse. These acts of imagination are how integration proceeds. George Bonanno’s resilience research and Pauline Boss’s work on ambiguous loss both describe this imaginative prefiguration as the actual mechanism of healing. The sequence matters here. Picturing a survivable future comes first, and resolution begins to assemble around the picture.

At the collective level, Benedict Anderson’s argument about imagined communities rides the same rail. A nation exists first as an imaginative act performed by millions of strangers simultaneously. Citizens picture themselves as a “we” before the institutional “we” coheres. American colonists had to imagine being Americans before they could act as Americans. Thomas Kuhn made a parallel argument about scientific revolutions. A new paradigm must be imaginatively entertained, played with speculatively, inhabited as a thought experiment, before it can be adopted and tested. Discovery through accumulation alone misses the interior work that makes discovery possible. Science imagines a world in which the anomalies make sense, and then searches for evidence that the imagined world is the actual one.

Here is the argument this pattern makes against one of the most persistent myths in the modern self-help industry. The doctrine of pure willpower, of steel discipline, of command-and-execute personal transformation, is largely false where it matters most. The states we most want to inhabit are precisely the states that refuse to be seized. Love, sleep, creative insight, courage, calm, sexual pleasure, athletic flow, artistic voice, faith, grief’s resolution, recovery from trauma, the dissolution of anxiety, the emergence of a new political identity, all of these operate by invitation rather than by conquest. A hard clamp on such a state accelerates its evasion. Accurate, patient rehearsal of the self already inside it increases the odds of arrival, because the state recognizes the address it has been given.

This observation is a claim about where real labor lives, rather than a brief for passivity. The imagination itself is labor. Stanislavski’s affective memory takes years to develop. Nicklaus’s visualization was the product of thousands of hours of prior experience that had furnished his imagination with accurate material to draw on. Negative capability, for the poet, demands a difficult kind of vigilance. Picturing a survivable future, for the mourner, takes courage most days. Real work is being performed in all these cases. That work simply lives somewhere other than where the popular literature keeps telling us to look. It lives in the imagining, in furnishing the mind with a vivid enough rehearsal that the body and the world will follow the script.

There is a political dimension to this that deserves attention. Populations that cannot imagine a different arrangement of their lives will not produce one. Authoritarian regimes understand this perfectly and invest heavily in controlling imagination itself, in prescribing what may be pictured, in criminalizing the mental rehearsal of alternatives. The censor knows the law of reversed effort by heart, and knows in particular that the imagined state of freedom must be interrupted before the political state of freedom can be prevented. Organizers and artists, working from the other direction, understand that their first task is to make the unfamiliar picturable. Once a people can picture themselves free, the mechanics of becoming free start to assemble around the picture.

The craft implication for writers, for dramatists, for anyone whose work involves summoning states in other people’s minds, is that we are running an imagination-furnishing enterprise whose surface resembles persuasion. A good novel gives the reader a vivid enough picture of the inside of another life that the feeling assembles itself inside the reader. A good play stages grief with such precision that the audience’s own grief, resting dormant, recognizes the invitation and walks forward. Argument alone has never moved anyone who was going to stay put. The form of the work becomes a staircase. Descent happens inside the audience’s own imagination. The hypnotic principle and the aesthetic principle are the same principle.

Which returns us to sleep, where we began. The oldest ritual of the human body is the rehearsal that makes becoming possible. Every night of your life you practice the technique that governs almost everything else you will ever want to enter. You picture yourself arriving, and arrival follows the picture. The repetition is so automatic it escapes notice. Seeing the principle for the first time reorders the interior map. The question that has held your energy for years, the question of how to force yourself into the state you want, reveals itself as badly posed. Sharper questions take shape around what you had been missing. What does the inside of that state actually feel like, in specific sensory detail? What would I need to picture accurately enough for my body and my circumstances to follow the picture into becoming?

Less effort, applied through better imagination, answers more of what we want in a human life than the heavier strategies that continue to dominate our self-improvement literature. That reweighting, once genuinely made, reorders a great deal.

The States That Will Not Be Commanded

There is a class of human experience that answers to no direct order. You cannot tell yourself to fall asleep. The instruction arrives at a locked door. Sleep refuses the simple transaction of command and execution. Instead, it assembles itself once certain conditions are present, and those conditions include, strangely enough, the act of picturing yourself already inside the state you are trying to enter. Lying down begins it. Closed eyes continue it. Imagining yourself asleep, entering the self who has already arrived, completes the condition, and only then does sleep agree to appear.

This is stranger than it first appears. The imagination precedes the fact. A fiction makes the reality possible. Rehearsal of the self-in-the-state must happen before the state itself will consent to arrive. Once you notice this mechanism operating in sleep, you begin to see it everywhere in human life, running underneath experiences we mistakenly believed we commanded outright.

Aldous Huxley named the pattern in The Perennial Philosophy and called it the law of reversed effort, a phrase Alan Watts later carried into wider circulation. Viktor Frankl, working from the clinic rather than the lecture hall, called it paradoxical intention, and used it to treat patients whose anxieties had swallowed them whole. The insomniac who tries hardest to sleep stays awake longest. The speaker who strains to stop stammering stammers worst. Frankl’s counterintuitive instruction was to command the symptom itself. Try to stay awake. Try to stammer. The paradox broke the grip because it acknowledged a humble fact about voluntary will: the target state cannot be seized. It must be invited, imagined, allowed.

Taoists arrived at the same recognition two thousand years earlier and called it wu-wei, the action that is not action, the doing that happens when the doer gets out of the way. An archer who aims too hard misses. A calligrapher who grips the brush too firmly produces a dead line. Skill of that order lives in a zone the conscious will cannot enter, and the only approach is to imagine yourself having already arrived.

Consider sexual arousal. The physiological response is famously resistant to command. It answers to imagined scenarios, to remembered encounters, to anticipated scenes. Masters and Johnson built an entire clinical practice around this recognition, and their cure for performance anxiety, sensate focus, works by replacing effort with imagined sensation. A man instructed to perform often cannot. The same man, invited to picture the experience without obligation, finds his body following his mind into the state. Arousal answers to conjuring.

Consider crying on cue, the classical actor’s problem. Stanislavski solved it through affective memory. The tears come by indirection. You imagine the dog you lost when you were nine, and water arrives because the body has been invited to the feeling rather than ordered to produce it. Meryl Streep has described her process in interviews as a summoning of remembered feeling. Daniel Day-Lewis has described his as an inhabitation sustained across months. Neither description sounds like command. The actor imagines the self-in-grief, and grief supplies the water.

Consider the act of belief. Pascal, sitting in his Pensées alongside the famous wager, offered an argument about habituation that has been quietly underestimated for centuries. For those seeking faith, he advised acting as if they already believed. Kneel. Take the holy water. Say the prayers. Imagine yourself as a believer, and belief may arrive as a secondary effect of the performance. William James extended the line in “The Will to Believe” and argued that many truths about ourselves only become true after we have imagined them as true. Courage is one such truth. Generosity is another. Love, perhaps most of all.

Athletes at the top of their disciplines understand this mechanism as technical knowledge. Jack Nicklaus, in Golf My Way, said he never hit a shot, even in practice, without first seeing the ball’s flight in his mind. Swimmers rehearse the race in imagination with such precision that brain scans show neural activation patterns overlapping substantially with actual performance. The body runs the course in miniature before it runs the course in fact. Physical execution follows the mental simulation because the state has already been entered once, invisibly, and needs only to be entered again with flesh attached.

Hypnosis is perhaps the cleanest case. An unwilling subject cannot be forced into the hypnotic state, and even a willing one cannot seize it by direct will. The subject must imagine entering the state, going down the staircase, growing heavy in the chair, and that imagining is the mechanism itself. Imaging studies by David Spiegel and colleagues at Stanford, along with related work by Oakley and Halligan, suggest that hypnotic suggestion produces neural patterns distinct from ordinary pretending, patterns more closely aligned with genuine perceptual and motor processing. Imagination has done something to the body. Fiction has produced a physiological effect the subject did not will.

Creative inspiration operates by the same architecture. You cannot command an idea to arrive. You can imagine yourself as receptive, empty, waiting, and the idea tends to arrive into that imagined vacancy. Keats called this negative capability, the capacity to sit inside uncertainty without grabbing for resolution. A poet imagines the listening state, and the poem walks into the room. Composers describe the same choreography. Mathematicians describe it too, with Poincaré’s famous account of the solution arriving as he stepped onto the bus at Coutances. He had imagined himself receptive for weeks. The solution waited until it found him properly prepared to receive it.

Grief resolution belongs in this same family, though we rarely recognize it. Bereaved people move through grief by imagining themselves on the other side of it. Picturing a future morning when the first thought lands somewhere other than the absence. Picturing the moment when the dead person’s name can be spoken without collapse. These acts of imagination are how integration proceeds. George Bonanno’s resilience research and Pauline Boss’s work on ambiguous loss both describe this imaginative prefiguration as the actual mechanism of healing. The sequence matters here. Picturing a survivable future comes first, and resolution begins to assemble around the picture.

At the collective level, Benedict Anderson’s argument about imagined communities rides the same rail. A nation exists first as an imaginative act performed by millions of strangers simultaneously. Citizens picture themselves as a “we” before the institutional “we” coheres. American colonists had to imagine being Americans before they could act as Americans. Thomas Kuhn made a parallel argument about scientific revolutions. A new paradigm must be imaginatively entertained, played with speculatively, inhabited as a thought experiment, before it can be adopted and tested. Discovery through accumulation alone misses the interior work that makes discovery possible. Science imagines a world in which the anomalies make sense, and then searches for evidence that the imagined world is the actual one.

Here is the argument this pattern makes against one of the most persistent myths in the modern self-help industry. The doctrine of pure willpower, of steel discipline, of command-and-execute personal transformation, is largely false where it matters most. The states we most want to inhabit are precisely the states that refuse to be seized. Love, sleep, creative insight, courage, calm, sexual pleasure, athletic flow, artistic voice, faith, grief’s resolution, recovery from trauma, the dissolution of anxiety, the emergence of a new political identity, all of these operate by invitation rather than by conquest. A hard clamp on such a state accelerates its evasion. Accurate, patient rehearsal of the self already inside it increases the odds of arrival, because the state recognizes the address it has been given.

This observation is a claim about where real labor lives, rather than a brief for passivity. The imagination itself is labor. Stanislavski’s affective memory takes years to develop. Nicklaus’s visualization was the product of thousands of hours of prior experience that had furnished his imagination with accurate material to draw on. Negative capability, for the poet, demands a difficult kind of vigilance. Picturing a survivable future, for the mourner, takes courage most days. Real work is being performed in all these cases. That work simply lives somewhere other than where the popular literature keeps telling us to look. It lives in the imagining, in furnishing the mind with a vivid enough rehearsal that the body and the world will follow the script.

There is a political dimension to this that deserves attention. Populations that cannot imagine a different arrangement of their lives will not produce one. Authoritarian regimes understand this perfectly and invest heavily in controlling imagination itself, in prescribing what may be pictured, in criminalizing the mental rehearsal of alternatives. The censor knows the law of reversed effort by heart, and knows in particular that the imagined state of freedom must be interrupted before the political state of freedom can be prevented. Organizers and artists, working from the other direction, understand that their first task is to make the unfamiliar picturable. Once a people can picture themselves free, the mechanics of becoming free start to assemble around the picture.

The craft implication for writers, for dramatists, for anyone whose work involves summoning states in other people’s minds, is that we are running an imagination-furnishing enterprise whose surface resembles persuasion. A good novel gives the reader a vivid enough picture of the inside of another life that the feeling assembles itself inside the reader. A good play stages grief with such precision that the audience’s own grief, resting dormant, recognizes the invitation and walks forward. Argument alone has never moved anyone who was going to stay put. The form of the work becomes a staircase. Descent happens inside the audience’s own imagination. The hypnotic principle and the aesthetic principle are the same principle.

Which returns us to sleep, where we began. The oldest ritual of the human body is the rehearsal that makes becoming possible. Every night of your life you practice the technique that governs almost everything else you will ever want to enter. You picture yourself arriving, and arrival follows the picture. The repetition is so automatic it escapes notice. Seeing the principle for the first time reorders the interior map. The question that has held your energy for years, the question of how to force yourself into the state you want, reveals itself as badly posed. Sharper questions take shape around what you had been missing. What does the inside of that state actually feel like, in specific sensory detail? What would I need to picture accurately enough for my body and my circumstances to follow the picture into becoming?

Less effort, applied through better imagination, answers more of what we want in a human life than the heavier strategies that continue to dominate our self-improvement literature. That reweighting, once genuinely made, reorders a great deal.

The States That Will Not Be Commanded

There is a class of human experience that answers to no direct order. You cannot tell yourself to fall asleep. The instruction arrives at a locked door. Sleep refuses the simple transaction of command and execution. Instead, it assembles itself once certain conditions are present, and those conditions include, strangely enough, the act of picturing yourself already inside the state you are trying to enter. Lying down begins it. Closed eyes continue it. Imagining yourself asleep, entering the self who has already arrived, completes the condition, and only then does sleep agree to appear.

This is stranger than it first appears. The imagination precedes the fact. A fiction makes the reality possible. Rehearsal of the self-in-the-state must happen before the state itself will consent to arrive. Once you notice this mechanism operating in sleep, you begin to see it everywhere in human life, running underneath experiences we mistakenly believed we commanded outright.

Aldous Huxley named the pattern in The Perennial Philosophy and called it the law of reversed effort, a phrase Alan Watts later carried into wider circulation. Viktor Frankl, working from the clinic rather than the lecture hall, called it paradoxical intention, and used it to treat patients whose anxieties had swallowed them whole. The insomniac who tries hardest to sleep stays awake longest. The speaker who strains to stop stammering stammers worst. Frankl’s counterintuitive instruction was to command the symptom itself. Try to stay awake. Try to stammer. The paradox broke the grip because it acknowledged a humble fact about voluntary will: the target state cannot be seized. It must be invited, imagined, allowed.

Taoists arrived at the same recognition two thousand years earlier and called it wu-wei, the action that is not action, the doing that happens when the doer gets out of the way. An archer who aims too hard misses. A calligrapher who grips the brush too firmly produces a dead line. Skill of that order lives in a zone the conscious will cannot enter, and the only approach is to imagine yourself having already arrived.

Consider sexual arousal. The physiological response is famously resistant to command. It answers to imagined scenarios, to remembered encounters, to anticipated scenes. Masters and Johnson built an entire clinical practice around this recognition, and their cure for performance anxiety, sensate focus, works by replacing effort with imagined sensation. A man instructed to perform often cannot. The same man, invited to picture the experience without obligation, finds his body following his mind into the state. Arousal answers to conjuring.

Consider crying on cue, the classical actor’s problem. Stanislavski solved it through affective memory. The tears come by indirection. You imagine the dog you lost when you were nine, and water arrives because the body has been invited to the feeling rather than ordered to produce it. Meryl Streep has described her process in interviews as a summoning of remembered feeling. Daniel Day-Lewis has described his as an inhabitation sustained across months. Neither description sounds like command. The actor imagines the self-in-grief, and grief supplies the water.

Consider the act of belief. Pascal, sitting in his Pensées alongside the famous wager, offered an argument about habituation that has been quietly underestimated for centuries. For those seeking faith, he advised acting as if they already believed. Kneel. Take the holy water. Say the prayers. Imagine yourself as a believer, and belief may arrive as a secondary effect of the performance. William James extended the line in “The Will to Believe” and argued that many truths about ourselves only become true after we have imagined them as true. Courage is one such truth. Generosity is another. Love, perhaps most of all.

Athletes at the top of their disciplines understand this mechanism as technical knowledge. Jack Nicklaus, in Golf My Way, said he never hit a shot, even in practice, without first seeing the ball’s flight in his mind. Swimmers rehearse the race in imagination with such precision that brain scans show neural activation patterns overlapping substantially with actual performance. The body runs the course in miniature before it runs the course in fact. Physical execution follows the mental simulation because the state has already been entered once, invisibly, and needs only to be entered again with flesh attached.

Hypnosis is perhaps the cleanest case. An unwilling subject cannot be forced into the hypnotic state, and even a willing one cannot seize it by direct will. The subject must imagine entering the state, going down the staircase, growing heavy in the chair, and that imagining is the mechanism itself. Imaging studies by David Spiegel and colleagues at Stanford, along with related work by Oakley and Halligan, suggest that hypnotic suggestion produces neural patterns distinct from ordinary pretending, patterns more closely aligned with genuine perceptual and motor processing. Imagination has done something to the body. Fiction has produced a physiological effect the subject did not will.

Creative inspiration operates by the same architecture. You cannot command an idea to arrive. You can imagine yourself as receptive, empty, waiting, and the idea tends to arrive into that imagined vacancy. Keats called this negative capability, the capacity to sit inside uncertainty without grabbing for resolution. A poet imagines the listening state, and the poem walks into the room. Composers describe the same choreography. Mathematicians describe it too, with Poincaré’s famous account of the solution arriving as he stepped onto the bus at Coutances. He had imagined himself receptive for weeks. The solution waited until it found him properly prepared to receive it.

Grief resolution belongs in this same family, though we rarely recognize it. Bereaved people move through grief by imagining themselves on the other side of it. Picturing a future morning when the first thought lands somewhere other than the absence. Picturing the moment when the dead person’s name can be spoken without collapse. These acts of imagination are how integration proceeds. George Bonanno’s resilience research and Pauline Boss’s work on ambiguous loss both describe this imaginative prefiguration as the actual mechanism of healing. The sequence matters here. Picturing a survivable future comes first, and resolution begins to assemble around the picture.

At the collective level, Benedict Anderson’s argument about imagined communities rides the same rail. A nation exists first as an imaginative act performed by millions of strangers simultaneously. Citizens picture themselves as a “we” before the institutional “we” coheres. American colonists had to imagine being Americans before they could act as Americans. Thomas Kuhn made a parallel argument about scientific revolutions. A new paradigm must be imaginatively entertained, played with speculatively, inhabited as a thought experiment, before it can be adopted and tested. Discovery through accumulation alone misses the interior work that makes discovery possible. Science imagines a world in which the anomalies make sense, and then searches for evidence that the imagined world is the actual one.

Here is the argument this pattern makes against one of the most persistent myths in the modern self-help industry. The doctrine of pure willpower, of steel discipline, of command-and-execute personal transformation, is largely false where it matters most. The states we most want to inhabit are precisely the states that refuse to be seized. Love, sleep, creative insight, courage, calm, sexual pleasure, athletic flow, artistic voice, faith, grief’s resolution, recovery from trauma, the dissolution of anxiety, the emergence of a new political identity, all of these operate by invitation rather than by conquest. A hard clamp on such a state accelerates its evasion. Accurate, patient rehearsal of the self already inside it increases the odds of arrival, because the state recognizes the address it has been given.

This observation is a claim about where real labor lives, rather than a brief for passivity. The imagination itself is labor. Stanislavski’s affective memory takes years to develop. Nicklaus’s visualization was the product of thousands of hours of prior experience that had furnished his imagination with accurate material to draw on. Negative capability, for the poet, demands a difficult kind of vigilance. Picturing a survivable future, for the mourner, takes courage most days. Real work is being performed in all these cases. That work simply lives somewhere other than where the popular literature keeps telling us to look. It lives in the imagining, in furnishing the mind with a vivid enough rehearsal that the body and the world will follow the script.

There is a political dimension to this that deserves attention. Populations that cannot imagine a different arrangement of their lives will not produce one. Authoritarian regimes understand this perfectly and invest heavily in controlling imagination itself, in prescribing what may be pictured, in criminalizing the mental rehearsal of alternatives. The censor knows the law of reversed effort by heart, and knows in particular that the imagined state of freedom must be interrupted before the political state of freedom can be prevented. Organizers and artists, working from the other direction, understand that their first task is to make the unfamiliar picturable. Once a people can picture themselves free, the mechanics of becoming free start to assemble around the picture.

The craft implication for writers, for dramatists, for anyone whose work involves summoning states in other people’s minds, is that we are running an imagination-furnishing enterprise whose surface resembles persuasion. A good novel gives the reader a vivid enough picture of the inside of another life that the feeling assembles itself inside the reader. A good play stages grief with such precision that the audience’s own grief, resting dormant, recognizes the invitation and walks forward. Argument alone has never moved anyone who was going to stay put. The form of the work becomes a staircase. Descent happens inside the audience’s own imagination. The hypnotic principle and the aesthetic principle are the same principle.

Which returns us to sleep, where we began. The oldest ritual of the human body is the rehearsal that makes becoming possible. Every night of your life you practice the technique that governs almost everything else you will ever want to enter. You picture yourself arriving, and arrival follows the picture. The repetition is so automatic it escapes notice. Seeing the principle for the first time reorders the interior map. The question that has held your energy for years, the question of how to force yourself into the state you want, reveals itself as badly posed. Sharper questions take shape around what you had been missing. What does the inside of that state actually feel like, in specific sensory detail? What would I need to picture accurately enough for my body and my circumstances to follow the picture into becoming?

Less effort, applied through better imagination, answers more of what we want in a human life than the heavier strategies that continue to dominate our self-improvement literature. That reweighting, once genuinely made, reorders a great deal.

The States That Will Not Be Commanded

There is a class of human experience that answers to no direct order. You cannot tell yourself to fall asleep. The instruction arrives at a locked door. Sleep refuses the simple transaction of command and execution. Instead, it assembles itself once certain conditions are present, and those conditions include, strangely enough, the act of picturing yourself already inside the state you are trying to enter. Lying down begins it. Closed eyes continue it. Imagining yourself asleep, entering the self who has already arrived, completes the condition, and only then does sleep agree to appear.

This is stranger than it first appears. The imagination precedes the fact. A fiction makes the reality possible. Rehearsal of the self-in-the-state must happen before the state itself will consent to arrive. Once you notice this mechanism operating in sleep, you begin to see it everywhere in human life, running underneath experiences we mistakenly believed we commanded outright.

Aldous Huxley named the pattern in The Perennial Philosophy and called it the law of reversed effort, a phrase Alan Watts later carried into wider circulation. Viktor Frankl, working from the clinic rather than the lecture hall, called it paradoxical intention, and used it to treat patients whose anxieties had swallowed them whole. The insomniac who tries hardest to sleep stays awake longest. The speaker who strains to stop stammering stammers worst. Frankl’s counterintuitive instruction was to command the symptom itself. Try to stay awake. Try to stammer. The paradox broke the grip because it acknowledged a humble fact about voluntary will: the target state cannot be seized. It must be invited, imagined, allowed.

Taoists arrived at the same recognition two thousand years earlier and called it wu-wei, the action that is not action, the doing that happens when the doer gets out of the way. An archer who aims too hard misses. A calligrapher who grips the brush too firmly produces a dead line. Skill of that order lives in a zone the conscious will cannot enter, and the only approach is to imagine yourself having already arrived.

Consider sexual arousal. The physiological response is famously resistant to command. It answers to imagined scenarios, to remembered encounters, to anticipated scenes. Masters and Johnson built an entire clinical practice around this recognition, and their cure for performance anxiety, sensate focus, works by replacing effort with imagined sensation. A man instructed to perform often cannot. The same man, invited to picture the experience without obligation, finds his body following his mind into the state. Arousal answers to conjuring.

Consider crying on cue, the classical actor’s problem. Stanislavski solved it through affective memory. The tears come by indirection. You imagine the dog you lost when you were nine, and water arrives because the body has been invited to the feeling rather than ordered to produce it. Meryl Streep has described her process in interviews as a summoning of remembered feeling. Daniel Day-Lewis has described his as an inhabitation sustained across months. Neither description sounds like command. The actor imagines the self-in-grief, and grief supplies the water.

Consider the act of belief. Pascal, sitting in his Pensées alongside the famous wager, offered an argument about habituation that has been quietly underestimated for centuries. For those seeking faith, he advised acting as if they already believed. Kneel. Take the holy water. Say the prayers. Imagine yourself as a believer, and belief may arrive as a secondary effect of the performance. William James extended the line in “The Will to Believe” and argued that many truths about ourselves only become true after we have imagined them as true. Courage is one such truth. Generosity is another. Love, perhaps most of all.

Athletes at the top of their disciplines understand this mechanism as technical knowledge. Jack Nicklaus, in Golf My Way, said he never hit a shot, even in practice, without first seeing the ball’s flight in his mind. Swimmers rehearse the race in imagination with such precision that brain scans show neural activation patterns overlapping substantially with actual performance. The body runs the course in miniature before it runs the course in fact. Physical execution follows the mental simulation because the state has already been entered once, invisibly, and needs only to be entered again with flesh attached.

Hypnosis is perhaps the cleanest case. An unwilling subject cannot be forced into the hypnotic state, and even a willing one cannot seize it by direct will. The subject must imagine entering the state, going down the staircase, growing heavy in the chair, and that imagining is the mechanism itself. Imaging studies by David Spiegel and colleagues at Stanford, along with related work by Oakley and Halligan, suggest that hypnotic suggestion produces neural patterns distinct from ordinary pretending, patterns more closely aligned with genuine perceptual and motor processing. Imagination has done something to the body. Fiction has produced a physiological effect the subject did not will.

Creative inspiration operates by the same architecture. You cannot command an idea to arrive. You can imagine yourself as receptive, empty, waiting, and the idea tends to arrive into that imagined vacancy. Keats called this negative capability, the capacity to sit inside uncertainty without grabbing for resolution. A poet imagines the listening state, and the poem walks into the room. Composers describe the same choreography. Mathematicians describe it too, with Poincaré’s famous account of the solution arriving as he stepped onto the bus at Coutances. He had imagined himself receptive for weeks. The solution waited until it found him properly prepared to receive it.

Grief resolution belongs in this same family, though we rarely recognize it. Bereaved people move through grief by imagining themselves on the other side of it. Picturing a future morning when the first thought lands somewhere other than the absence. Picturing the moment when the dead person’s name can be spoken without collapse. These acts of imagination are how integration proceeds. George Bonanno’s resilience research and Pauline Boss’s work on ambiguous loss both describe this imaginative prefiguration as the actual mechanism of healing. The sequence matters here. Picturing a survivable future comes first, and resolution begins to assemble around the picture.

At the collective level, Benedict Anderson’s argument about imagined communities rides the same rail. A nation exists first as an imaginative act performed by millions of strangers simultaneously. Citizens picture themselves as a “we” before the institutional “we” coheres. American colonists had to imagine being Americans before they could act as Americans. Thomas Kuhn made a parallel argument about scientific revolutions. A new paradigm must be imaginatively entertained, played with speculatively, inhabited as a thought experiment, before it can be adopted and tested. Discovery through accumulation alone misses the interior work that makes discovery possible. Science imagines a world in which the anomalies make sense, and then searches for evidence that the imagined world is the actual one.

Here is the argument this pattern makes against one of the most persistent myths in the modern self-help industry. The doctrine of pure willpower, of steel discipline, of command-and-execute personal transformation, is largely false where it matters most. The states we most want to inhabit are precisely the states that refuse to be seized. Love, sleep, creative insight, courage, calm, sexual pleasure, athletic flow, artistic voice, faith, grief’s resolution, recovery from trauma, the dissolution of anxiety, the emergence of a new political identity, all of these operate by invitation rather than by conquest. A hard clamp on such a state accelerates its evasion. Accurate, patient rehearsal of the self already inside it increases the odds of arrival, because the state recognizes the address it has been given.

This observation is a claim about where real labor lives, rather than a brief for passivity. The imagination itself is labor. Stanislavski’s affective memory takes years to develop. Nicklaus’s visualization was the product of thousands of hours of prior experience that had furnished his imagination with accurate material to draw on. Negative capability, for the poet, demands a difficult kind of vigilance. Picturing a survivable future, for the mourner, takes courage most days. Real work is being performed in all these cases. That work simply lives somewhere other than where the popular literature keeps telling us to look. It lives in the imagining, in furnishing the mind with a vivid enough rehearsal that the body and the world will follow the script.

There is a political dimension to this that deserves attention. Populations that cannot imagine a different arrangement of their lives will not produce one. Authoritarian regimes understand this perfectly and invest heavily in controlling imagination itself, in prescribing what may be pictured, in criminalizing the mental rehearsal of alternatives. The censor knows the law of reversed effort by heart, and knows in particular that the imagined state of freedom must be interrupted before the political state of freedom can be prevented. Organizers and artists, working from the other direction, understand that their first task is to make the unfamiliar picturable. Once a people can picture themselves free, the mechanics of becoming free start to assemble around the picture.

The craft implication for writers, for dramatists, for anyone whose work involves summoning states in other people’s minds, is that we are running an imagination-furnishing enterprise whose surface resembles persuasion. A good novel gives the reader a vivid enough picture of the inside of another life that the feeling assembles itself inside the reader. A good play stages grief with such precision that the audience’s own grief, resting dormant, recognizes the invitation and walks forward. Argument alone has never moved anyone who was going to stay put. The form of the work becomes a staircase. Descent happens inside the audience’s own imagination. The hypnotic principle and the aesthetic principle are the same principle.

Which returns us to sleep, where we began. The oldest ritual of the human body is the rehearsal that makes becoming possible. Every night of your life you practice the technique that governs almost everything else you will ever want to enter. You picture yourself arriving, and arrival follows the picture. The repetition is so automatic it escapes notice. Seeing the principle for the first time reorders the interior map. The question that has held your energy for years, the question of how to force yourself into the state you want, reveals itself as badly posed. Sharper questions take shape around what you had been missing. What does the inside of that state actually feel like, in specific sensory detail? What would I need to picture accurately enough for my body and my circumstances to follow the picture into becoming?

Less effort, applied through better imagination, answers more of what we want in a human life than the heavier strategies that continue to dominate our self-improvement literature. That reweighting, once genuinely made, reorders a great deal.

The States That Will Not Be Commanded

There is a class of human experience that answers to no direct order. You cannot tell yourself to fall asleep. The instruction arrives at a locked door. Sleep refuses the simple transaction of command and execution. Instead, it assembles itself once certain conditions are present, and those conditions include, strangely enough, the act of picturing yourself already inside the state you are trying to enter. Lying down begins it. Closed eyes continue it. Imagining yourself asleep, entering the self who has already arrived, completes the condition, and only then does sleep agree to appear.

This is stranger than it first appears. The imagination precedes the fact. A fiction makes the reality possible. Rehearsal of the self-in-the-state must happen before the state itself will consent to arrive. Once you notice this mechanism operating in sleep, you begin to see it everywhere in human life, running underneath experiences we mistakenly believed we commanded outright.

Aldous Huxley named the pattern in The Perennial Philosophy and called it the law of reversed effort, a phrase Alan Watts later carried into wider circulation. Viktor Frankl, working from the clinic rather than the lecture hall, called it paradoxical intention, and used it to treat patients whose anxieties had swallowed them whole. The insomniac who tries hardest to sleep stays awake longest. The speaker who strains to stop stammering stammers worst. Frankl’s counterintuitive instruction was to command the symptom itself. Try to stay awake. Try to stammer. The paradox broke the grip because it acknowledged a humble fact about voluntary will: the target state cannot be seized. It must be invited, imagined, allowed.

Taoists arrived at the same recognition two thousand years earlier and called it wu-wei, the action that is not action, the doing that happens when the doer gets out of the way. An archer who aims too hard misses. A calligrapher who grips the brush too firmly produces a dead line. Skill of that order lives in a zone the conscious will cannot enter, and the only approach is to imagine yourself having already arrived.

Consider sexual arousal. The physiological response is famously resistant to command. It answers to imagined scenarios, to remembered encounters, to anticipated scenes. Masters and Johnson built an entire clinical practice around this recognition, and their cure for performance anxiety, sensate focus, works by replacing effort with imagined sensation. A man instructed to perform often cannot. The same man, invited to picture the experience without obligation, finds his body following his mind into the state. Arousal answers to conjuring.

Consider crying on cue, the classical actor’s problem. Stanislavski solved it through affective memory. The tears come by indirection. You imagine the dog you lost when you were nine, and water arrives because the body has been invited to the feeling rather than ordered to produce it. Meryl Streep has described her process in interviews as a summoning of remembered feeling. Daniel Day-Lewis has described his as an inhabitation sustained across months. Neither description sounds like command. The actor imagines the self-in-grief, and grief supplies the water.

Consider the act of belief. Pascal, sitting in his Pensées alongside the famous wager, offered an argument about habituation that has been quietly underestimated for centuries. For those seeking faith, he advised acting as if they already believed. Kneel. Take the holy water. Say the prayers. Imagine yourself as a believer, and belief may arrive as a secondary effect of the performance. William James extended the line in “The Will to Believe” and argued that many truths about ourselves only become true after we have imagined them as true. Courage is one such truth. Generosity is another. Love, perhaps most of all.

Athletes at the top of their disciplines understand this mechanism as technical knowledge. Jack Nicklaus, in Golf My Way, said he never hit a shot, even in practice, without first seeing the ball’s flight in his mind. Swimmers rehearse the race in imagination with such precision that brain scans show neural activation patterns overlapping substantially with actual performance. The body runs the course in miniature before it runs the course in fact. Physical execution follows the mental simulation because the state has already been entered once, invisibly, and needs only to be entered again with flesh attached.

Hypnosis is perhaps the cleanest case. An unwilling subject cannot be forced into the hypnotic state, and even a willing one cannot seize it by direct will. The subject must imagine entering the state, going down the staircase, growing heavy in the chair, and that imagining is the mechanism itself. Imaging studies by David Spiegel and colleagues at Stanford, along with related work by Oakley and Halligan, suggest that hypnotic suggestion produces neural patterns distinct from ordinary pretending, patterns more closely aligned with genuine perceptual and motor processing. Imagination has done something to the body. Fiction has produced a physiological effect the subject did not will.

Creative inspiration operates by the same architecture. You cannot command an idea to arrive. You can imagine yourself as receptive, empty, waiting, and the idea tends to arrive into that imagined vacancy. Keats called this negative capability, the capacity to sit inside uncertainty without grabbing for resolution. A poet imagines the listening state, and the poem walks into the room. Composers describe the same choreography. Mathematicians describe it too, with Poincaré’s famous account of the solution arriving as he stepped onto the bus at Coutances. He had imagined himself receptive for weeks. The solution waited until it found him properly prepared to receive it.

Grief resolution belongs in this same family, though we rarely recognize it. Bereaved people move through grief by imagining themselves on the other side of it. Picturing a future morning when the first thought lands somewhere other than the absence. Picturing the moment when the dead person’s name can be spoken without collapse. These acts of imagination are how integration proceeds. George Bonanno’s resilience research and Pauline Boss’s work on ambiguous loss both describe this imaginative prefiguration as the actual mechanism of healing. The sequence matters here. Picturing a survivable future comes first, and resolution begins to assemble around the picture.

At the collective level, Benedict Anderson’s argument about imagined communities rides the same rail. A nation exists first as an imaginative act performed by millions of strangers simultaneously. Citizens picture themselves as a “we” before the institutional “we” coheres. American colonists had to imagine being Americans before they could act as Americans. Thomas Kuhn made a parallel argument about scientific revolutions. A new paradigm must be imaginatively entertained, played with speculatively, inhabited as a thought experiment, before it can be adopted and tested. Discovery through accumulation alone misses the interior work that makes discovery possible. Science imagines a world in which the anomalies make sense, and then searches for evidence that the imagined world is the actual one.

Here is the argument this pattern makes against one of the most persistent myths in the modern self-help industry. The doctrine of pure willpower, of steel discipline, of command-and-execute personal transformation, is largely false where it matters most. The states we most want to inhabit are precisely the states that refuse to be seized. Love, sleep, creative insight, courage, calm, sexual pleasure, athletic flow, artistic voice, faith, grief’s resolution, recovery from trauma, the dissolution of anxiety, the emergence of a new political identity, all of these operate by invitation rather than by conquest. A hard clamp on such a state accelerates its evasion. Accurate, patient rehearsal of the self already inside it increases the odds of arrival, because the state recognizes the address it has been given.

This observation is a claim about where real labor lives, rather than a brief for passivity. The imagination itself is labor. Stanislavski’s affective memory takes years to develop. Nicklaus’s visualization was the product of thousands of hours of prior experience that had furnished his imagination with accurate material to draw on. Negative capability, for the poet, demands a difficult kind of vigilance. Picturing a survivable future, for the mourner, takes courage most days. Real work is being performed in all these cases. That work simply lives somewhere other than where the popular literature keeps telling us to look. It lives in the imagining, in furnishing the mind with a vivid enough rehearsal that the body and the world will follow the script.

There is a political dimension to this that deserves attention. Populations that cannot imagine a different arrangement of their lives will not produce one. Authoritarian regimes understand this perfectly and invest heavily in controlling imagination itself, in prescribing what may be pictured, in criminalizing the mental rehearsal of alternatives. The censor knows the law of reversed effort by heart, and knows in particular that the imagined state of freedom must be interrupted before the political state of freedom can be prevented. Organizers and artists, working from the other direction, understand that their first task is to make the unfamiliar picturable. Once a people can picture themselves free, the mechanics of becoming free start to assemble around the picture.

The craft implication for writers, for dramatists, for anyone whose work involves summoning states in other people’s minds, is that we are running an imagination-furnishing enterprise whose surface resembles persuasion. A good novel gives the reader a vivid enough picture of the inside of another life that the feeling assembles itself inside the reader. A good play stages grief with such precision that the audience’s own grief, resting dormant, recognizes the invitation and walks forward. Argument alone has never moved anyone who was going to stay put. The form of the work becomes a staircase. Descent happens inside the audience’s own imagination. The hypnotic principle and the aesthetic principle are the same principle.

Which returns us to sleep, where we began. The oldest ritual of the human body is the rehearsal that makes becoming possible. Every night of your life you practice the technique that governs almost everything else you will ever want to enter. You picture yourself arriving, and arrival follows the picture. The repetition is so automatic it escapes notice. Seeing the principle for the first time reorders the interior map. The question that has held your energy for years, the question of how to force yourself into the state you want, reveals itself as badly posed. Sharper questions take shape around what you had been missing. What does the inside of that state actually feel like, in specific sensory detail? What would I need to picture accurately enough for my body and my circumstances to follow the picture into becoming?

Less effort, applied through better imagination, answers more of what we want in a human life than the heavier strategies that continue to dominate our self-improvement literature. That reweighting, once genuinely made, reorders a great deal.

What forms, or: Friction

A Sijo

what must stay pure is kept so
white stays unchanged behind glass;
sealed off from all contact
no entry, no exit allowed;
but life requires some friction
or else it never becomes itself

What Do You See 338

For WDYS, Sadje offers us a photo taken by Jay Sadangi (Unsplash). The image shows a bouquet of white roses seen through a dusty window.

As always, Sadje is eagerly awaiting our responses!

Sijo?

A Korean verse form related to haiku and tanka and comprised of three lines of 14-16 syllables each, for a total of 44-46 syllables. Each line contains a pause near the middle, similar to a caesura, though the break need not be metrical. The first half of the line contains six to nine syllables; the second half should contain no fewer than five. Originally intended as songs, sijo can treat romantic, metaphysical, or spiritual themes. Whatever the subject, the first line introduces an idea or story, the second supplies a “turn,” and the third provides closure. Modern sijo are sometimes printed in six lines.

Let’s write poetry together!

When it comes to partnership, some humans can make their lives alone – it’s possible. But creatively, it’s more like painting: you can’t just use the same colours in every painting. It’s just not an option. You can’t take the same photograph every time and live with art forms with no differences.

–Ben Harper (b. 1969)

Would you like to create poetry with me and have a completed poem of yours featured here at the Skeptic’s Kaddish? I am very excited to have launched the ‘Poetry Partners’ initiative and am looking forward to meeting and creating with you… Check it out!

"Let relentless optimism define your core!" - Futurist Jim Carroll

--
Futurist Jim Carroll is writing a series, The Art of the Infinite Pivot, based on 36 lessons from his 36 years as a solo entrepreneur, working as a nomadic worker in the global freelance economy. The series is unfolding here, and at pivot.jimcarroll.com.
--
For those who might ask, I'm in California today, on stage at 9 am with a keynote for a packaging conference. if the weather gods are willing, I'll be landing back at YYZ about 910pm, and should see a splashdown at perhaps 1030pm. Traditions and all!
--

On a milestone like today, you realize that the most important piece of "gear" you’ve carried through 36 years isn't a laptop or a library of data.

It’s your outlook.

In a world of relentless change, volatility, and a staggering rate of change that always seems to directly impact you, the most radical mindset you can adapt is to stay relentlessly optimistic.

Optimism isn't about being naive; it’s about being strategic. It's about making a conscious decision that you are always going to try to find the upside, instead of obsessing over the downside. You are going to find the opportunities rather than becoming distressed about the negatives. It means you are going to always act to keep moving forward, even though personal circumstances seem to be trying to drag you backward.

And it always involves thinking about a potentially better future. Look, if you don't believe the future can be better, you won't do the hard work required to pivot toward it. In my voyage, I’ve seen that the cynics are usually right in the short term, but the optimists are the ones who build the long term. Cynicism is a destructive force: optimism is a powerful flex.

This is the secret to longevity. When you choose optimism as your core, every disruption becomes an opportunity rather than a threat. Throughout my 36 years, the pivots that felt the most effortless were the ones fueled by a genuine excitement for what was coming next.

If you let fear define your core, you will build a career based on standing still.
Doing small things. Making small steps. Chasing small goals.

But if you let optimism define your core, you build a career based on possibility.

Big ideas. Big trends. Big opportunities.

As I stand at this milestone today, I’m not looking at the challenges that exist around me today.

I'm looking at what comes next and what I will do to be a part of it.

That being the case, think about this: the future belongs to those who are excited to meet it!

---

Futurist Jim Carroll believes that optimism is at the core of all success.

**#Optimism** **#Mindset** **#Core** **#Positivity** **#Future** **#Outlook** **#Strategic** **#Possibility** **#Excitement** **#Growth** **#Pivot** **#Resilience** **#Hope** **#Forward** **#Freelance** **#Lessons** **#Longevity** **#Opportunity** **#Belief** **#Tomorrow** **#Attitude** **#Joy** **#Building**

Original post: https://jimcarroll.com/2026/04/decoding-tomorrow-the-infinite-pivot-series-13-let-relentless-optimism-define-your-core/

Me being honest and transparent about my religious beliefs and understanding = people angry with me for what they called "religious psychosis". Maybe they are already self-sufficient, but do not harm or coerce me into joining the blasphemy too.

#freedom #belief #religion #respect #humanrights #dignity #tolerance #expression #ethics #society #dialogue #understanding #identity #voice #justice

A quotation from Emerson

   A man should learn to detect and watch that gleam of light which flashes across his mind from within, more than the lustre of the firmament of bards and sages. Yet he dismisses without notice his thought, because it is his.
   In every work of genius we recognize our own rejected thoughts; they come back to us with a certain alienated majesty. Great works of art have no more affecting lesson for us than this. They teach us to abide by our spontaneous impression with good-humored inflexibility then most when the whole cry of voices is on the other side. Else to-morrow a stranger will say with masterly good sense precisely what we have thought and felt all the time, and we shall be forced to take with shame our own opinion from another.

Ralph Waldo Emerson (1803-1882) American essayist, lecturer, poet
Essay (1841), “Self-Reliance,” Essays: First Series, No. 2

More about this quote: wist.info/emerson-ralph-waldo/…

#quote #quotes #quotation #qotd #emerson #ralphwaldoemerson #belief #believeinyourself #confidence #creativity #ego #genius #humility #idea #opinion #originality #pride #selfappreciation #selfapproval #selfbetrayal #selfcensorship #selfconfidence #selfconsciousness #selfcriticism #selfdefeating #selfdeprecating #selfeffacing #selfesteem #selfjudgment #selfquestioning #selfreproach #selfsabotage #selftrust #spontaneity #trustyourself

A quotation from Emerson

   A man should learn to detect and watch that gleam of light which flashes across his mind from within, more than the lustre of the firmament of bards and sages. Yet he dismisses without notice his thought, because it is his.
   In every work of genius we recognize our own rejected thoughts; they come back to us with a certain alienated majesty. Great works of art have no more affecting lesson for us than this. They teach us to abide by our spontaneous impression with good-humored inflexibility then most when the whole cry of voices is on the other side. Else to-morrow a stranger will say with masterly good sense precisely what we have thought and felt all the time, and we shall be forced to take with shame our own opinion from another.

Ralph Waldo Emerson (1803-1882) American essayist, lecturer, poet
Essay (1841), “Self-Reliance,” Essays: First Series, No. 2

More about this quote: wist.info/emerson-ralph-waldo/…

#quote #quotes #quotation #qotd #emerson #ralphwaldoemerson #belief #believeinyourself #confidence #creativity #ego #genius #humility #idea #opinion #originality #pride #selfappreciation #selfapproval #selfbetrayal #selfcensorship #selfconfidence #selfconsciousness #selfcriticism #selfdefeating #selfdeprecating #selfeffacing #selfesteem #selfjudgment #selfquestioning #selfreproach #selfsabotage #selftrust #spontaneity #trustyourself

A quotation from Emerson

   A man should learn to detect and watch that gleam of light which flashes across his mind from within, more than the lustre of the firmament of bards and sages. Yet he dismisses without notice his thought, because it is his.
   In every work of genius we recognize our own rejected thoughts; they come back to us with a certain alienated majesty. Great works of art have no more affecting lesson for us than this. They teach us to abide by our spontaneous impression with good-humored inflexibility then most when the whole cry of voices is on the other side. Else to-morrow a stranger will say with masterly good sense precisely what we have thought and felt all the time, and we shall be forced to take with shame our own opinion from another.

Ralph Waldo Emerson (1803-1882) American essayist, lecturer, poet
Essay (1841), “Self-Reliance,” Essays: First Series, No. 2

More about this quote: wist.info/emerson-ralph-waldo/…

#quote #quotes #quotation #qotd #emerson #ralphwaldoemerson #belief #believeinyourself #confidence #creativity #ego #genius #humility #idea #opinion #originality #pride #selfappreciation #selfapproval #selfbetrayal #selfcensorship #selfconfidence #selfconsciousness #selfcriticism #selfdefeating #selfdeprecating #selfeffacing #selfesteem #selfjudgment #selfquestioning #selfreproach #selfsabotage #selftrust #spontaneity #trustyourself

A quotation from Emerson

   A man should learn to detect and watch that gleam of light which flashes across his mind from within, more than the lustre of the firmament of bards and sages. Yet he dismisses without notice his thought, because it is his.
   In every work of genius we recognize our own rejected thoughts; they come back to us with a certain alienated majesty. Great works of art have no more affecting lesson for us than this. They teach us to abide by our spontaneous impression with good-humored inflexibility then most when the whole cry of voices is on the other side. Else to-morrow a stranger will say with masterly good sense precisely what we have thought and felt all the time, and we shall be forced to take with shame our own opinion from another.

Ralph Waldo Emerson (1803-1882) American essayist, lecturer, poet
Essay (1841), “Self-Reliance,” Essays: First Series, No. 2

More about this quote: wist.info/emerson-ralph-waldo/…

#quote #quotes #quotation #qotd #emerson #ralphwaldoemerson #belief #believeinyourself #confidence #creativity #ego #genius #humility #idea #opinion #originality #pride #selfappreciation #selfapproval #selfbetrayal #selfcensorship #selfconfidence #selfconsciousness #selfcriticism #selfdefeating #selfdeprecating #selfeffacing #selfesteem #selfjudgment #selfquestioning #selfreproach #selfsabotage #selftrust #spontaneity #trustyourself

A quotation from Emerson

   A man should learn to detect and watch that gleam of light which flashes across his mind from within, more than the lustre of the firmament of bards and sages. Yet he dismisses without notice his thought, because it is his.
   In every work of genius we recognize our own rejected thoughts; they come back to us with a certain alienated majesty. Great works of art have no more affecting lesson for us than this. They teach us to abide by our spontaneous impression with good-humored inflexibility then most when the whole cry of voices is on the other side. Else to-morrow a stranger will say with masterly good sense precisely what we have thought and felt all the time, and we shall be forced to take with shame our own opinion from another.

Ralph Waldo Emerson (1803-1882) American essayist, lecturer, poet
Essay (1841), “Self-Reliance,” Essays: First Series, No. 2

More about this quote: wist.info/emerson-ralph-waldo/…

#quote #quotes #quotation #qotd #emerson #ralphwaldoemerson #belief #believeinyourself #confidence #creativity #ego #genius #humility #idea #opinion #originality #pride #selfappreciation #selfapproval #selfbetrayal #selfcensorship #selfconfidence #selfconsciousness #selfcriticism #selfdefeating #selfdeprecating #selfeffacing #selfesteem #selfjudgment #selfquestioning #selfreproach #selfsabotage #selftrust #spontaneity #trustyourself

Chris Andrews SONG OF THE WEEK “Blown Away” https://www.youtube.com/watch?v=hLTKGxWqLVg

#synthpop #funk #britpop #heart #love #belief #buggles #nakedeyes #thelmahouston #OMD #chrisandrews #singersongwriter #HoveUK #rogerdaltrey #davidessex #davyjones #monkees #timandrews #krisryder #blownaway

"Out of these options, which is the One thing people in the West are Most Proud of?"

Democracy, Freedom of Expression, Liberty, Equality before the Law, Modern Amenities, Healthcare, Education, Women's rights, & Separation of Church from the State.

#Question #AskFedi #West #opinion #thought #blog #democracy #Liberty #Healthcare #education #womenrights #ideology #belief #politics

CHAKRA #meditation

3, 2 + 1

#focus #Intention #belief #solarplexuschakra

A quotation from Garry Wills

This is always the danger with propaganda, that it becomes at last more credible to its disseminators than to its targets.

Garry Wills (b. 1934) American author, journalist, historian
The Kennedy Imprisonment: A Meditation on Power, ch. 18 (1981)

More about this quote: wist.info/wills-garry/4211/

#quote #quotes #quotation #qotd #garrywills #foolingyourself #agitprop #belief #credibility #credulity #disinformation #lies #propaganda #selfdeception #spin #truth

A quotation from Eleanor Roosevelt

I doubt that anyone does not really believe in God. People may think they don’t have any belief, but you will usually find that somewhere down in a human being’s soul there is a belief in something beyond himself. In any case, I would not judge a man’s character by his belief or unbelief. I would judge his character by his deeds; and no matter what he said about his beliefs, his behavior would soon show whether he was a man of good character or bad.

Eleanor Roosevelt (1884–1962) First Lady of the US (1933–1945), politician, diplomat, activist
Column (1956-08), “If You Ask Me,” McCall’s Magazine, Vol. 83

More about this quote: wist.info/roosevelt-eleanor/29…

#quote #quotes #quotation #qotd #eleanorroosevelt #actions #atheism #atheist #behavior #belief #character #deeds #faith #higherpower #morality #religion #theism #values #wordsanddeeds #values

A quotation from La Rochefoucauld

We are stubborn because we are narrow-minded; it is hard to believe what is beyond the scope of our vision.
 
[La petitesse de l’esprit fait l’opiniâtreté, et nous ne croyons pas aisément ce qui est au delà de ce que nous voyons.]

François VI, duc de La Rochefoucauld (1613-1680) French epigrammatist, memoirist, noble
Réflexions ou sentences et maximes morales [Reflections; or Sentences and Moral Maxims], ¶265 (1665-1678) [tr. Heard (1917), ¶273]

More about (and translations of) this quote: wist.info/la-rochefoucauld-fra…

#quote #quotes #quotation #qotd #larochefoucauld #abstraction #belief #bias #bigotry #closedmindedness #comprehension #dogmatism #illiberality #insularity #intolerance #little #narrowmindedness #obstinacy #parochialism #scope #speculation #stubbornness #vision

A quotation from Samuel Johnson

Among the calamities of war, may be justly numbered the diminution of the love of truth, by the falsehoods which interest dictates, and credulity encourages.

Samuel Johnson (1709-1784) English writer, lexicographer, critic
Essay (1758-11-11), The Idler, No. 30

More about this quote: wist.info/johnson-samuel/5636/

#quote #quotes #quotation #qotd #samueljohnson #belief #credulity #deceit #deception #disinformation #meme #nationalhonor #nationalinterest #nationalism #patriotism #propaganda #publicrelations #spin #war

A quotation from Samuel Johnson

Among the calamities of war, may be justly numbered the diminution of the love of truth, by the falsehoods which interest dictates, and credulity encourages.

Samuel Johnson (1709-1784) English writer, lexicographer, critic
Essay (1758-11-11), The Idler, No. 30

More about this quote: wist.info/johnson-samuel/5636/

#quote #quotes #quotation #qotd #samueljohnson #belief #credulity #deceit #deception #disinformation #meme #nationalhonor #nationalinterest #nationalism #patriotism #propaganda #publicrelations #spin #war

A quotation from Samuel Johnson

Among the calamities of war, may be justly numbered the diminution of the love of truth, by the falsehoods which interest dictates, and credulity encourages.

Samuel Johnson (1709-1784) English writer, lexicographer, critic
Essay (1758-11-11), The Idler, No. 30

More about this quote: wist.info/johnson-samuel/5636/

#quote #quotes #quotation #qotd #samueljohnson #belief #credulity #deceit #deception #disinformation #meme #nationalhonor #nationalinterest #nationalism #patriotism #propaganda #publicrelations #spin #war

A quotation from Samuel Johnson

Among the calamities of war, may be justly numbered the diminution of the love of truth, by the falsehoods which interest dictates, and credulity encourages.

Samuel Johnson (1709-1784) English writer, lexicographer, critic
Essay (1758-11-11), The Idler, No. 30

More about this quote: wist.info/johnson-samuel/5636/

#quote #quotes #quotation #qotd #samueljohnson #belief #credulity #deceit #deception #disinformation #meme #nationalhonor #nationalinterest #nationalism #patriotism #propaganda #publicrelations #spin #war

A quotation from Samuel Johnson

Among the calamities of war, may be justly numbered the diminution of the love of truth, by the falsehoods which interest dictates, and credulity encourages.

Samuel Johnson (1709-1784) English writer, lexicographer, critic
Essay (1758-11-11), The Idler, No. 30

More about this quote: wist.info/johnson-samuel/5636/

#quote #quotes #quotation #qotd #samueljohnson #belief #credulity #deceit #deception #disinformation #meme #nationalhonor #nationalinterest #nationalism #patriotism #propaganda #publicrelations #spin #war

#Exvangelical #Atheist #Atheism #Christianity #Christian #ExChristian #Faith #Fundamentalism #Religion #Belief #Agnosticism #Evangelical #Evangelicalism

What we know, what’s unclear

Temple Israel dattacker is dead, Oakland County sheriff says A driver that crashed i…
#Israel #News #abuse #belief #conflict #death #Deathu0026Tragedy #Exclude #ExcludefromPaywallLogicTesting #fbi #from #Hamas #Judaism #local #LocalNews #logic #Negative #Overall #OverallNegative #Paywall #people #Peopleu0026Society #Religión #Religionu0026Belief #society #testing #tragedy #u0026 #Violence #Violenceu0026Abuse #war #Waru0026Conflict
https://www.europesays.com/2844161/

What is Temple Israel? What to know about West Bloomfield synagogue

Temple Israel dattacker is dead, Oakland Coun…
#Israel #News #abuse #belief #death #Deathu0026Tragedy #Exclude #ExcludefromPaywallLogicTesting #facebook #from #Judaism #local #LocalNews #logic #Michigan #Negative #neutral #Overall #OverallNegative #OverallNeutral #Paywall #people #Peopleu0026Society #Religión #Religionu0026Belief #society #testing #tragedy #u0026 #Violence #Violenceu0026Abuse
https://www.europesays.com/2841204/

A quotation from Thomas Carlyle

For the Scepticism, as I said, is not intellectual only; it is moral also; a chronic atrophy and disease of the whole soul. A man lives by believing something; not by debating and arguing about many things.

Thomas Carlyle (1795-1881) Scottish essayist and historian
Lecture (1840-05-19), “The Hero as Man of Letters,” Home House, Portman Square, London

More about this quote: wist.info/carlyle-thomas/82548…

#quote #quotes #quotation #qotd #thomascarlyle #belief #commitment #dedication #meaningoflife #motivation #passion #skepticism

A quotation from Thomas Carlyle

For the Scepticism, as I said, is not intellectual only; it is moral also; a chronic atrophy and disease of the whole soul. A man lives by believing something; not by debating and arguing about many things.

Thomas Carlyle (1795-1881) Scottish essayist and historian
Lecture (1840-05-19), “The Hero as Man of Letters,” Home House, Portman Square, London

More about this quote: wist.info/carlyle-thomas/82548…

#quote #quotes #quotation #qotd #thomascarlyle #belief #commitment #dedication #meaningoflife #motivation #passion #skepticism

A quotation from Thomas Carlyle

For the Scepticism, as I said, is not intellectual only; it is moral also; a chronic atrophy and disease of the whole soul. A man lives by believing something; not by debating and arguing about many things.

Thomas Carlyle (1795-1881) Scottish essayist and historian
Lecture (1840-05-19), “The Hero as Man of Letters,” Home House, Portman Square, London

More about this quote: wist.info/carlyle-thomas/82548…

#quote #quotes #quotation #qotd #thomascarlyle #belief #commitment #dedication #meaningoflife #motivation #passion #skepticism

A quotation from Thomas Carlyle

For the Scepticism, as I said, is not intellectual only; it is moral also; a chronic atrophy and disease of the whole soul. A man lives by believing something; not by debating and arguing about many things.

Thomas Carlyle (1795-1881) Scottish essayist and historian
Lecture (1840-05-19), “The Hero as Man of Letters,” Home House, Portman Square, London

More about this quote: wist.info/carlyle-thomas/82548…

#quote #quotes #quotation #qotd #thomascarlyle #belief #commitment #dedication #meaningoflife #motivation #passion #skepticism

A quotation from Eleanor Roosevelt

Perhaps that’s what we all had to do — think out for ourselves what we could believe and how we could live by it. And so I came to the conclusion that you had to use this life to develop the very best that you could develop.

Eleanor Roosevelt (1884–1962) First Lady of the US (1933–1945), politician, diplomat, activist
Essay (1951-12), “This I Believe: Growth that Starts from Thinking,” on Edward R. Murrow, This I Believe, CBS Radio

More about this quote: wist.info/roosevelt-eleanor/82…

#quote #quotes #quotation #qotd #eleanorroosevelt #belief #beliefsystem #besteffort #doyourbest #excellence #goodbehavior #meaningoflife #moralcode #personalcode #selfactualization #selfchallenging #selfcorrection #selfdevleopment #selfexamination #selfimprovement #selfquestioning #selfrespect

A quotation from Arthur Conan Doyle

“What you do in this world is a matter of no consequence,” returned my companion, bitterly. “The question is, what can you make people believe that you have done?”

Arthur Conan Doyle (1859-1930) British writer and physician
Story (1886-04), “A Study in Scarlet,” Part 2, ch. 7 [Holmes], Beeton’s Christmas Annual, Vol. 28 (1887-11-21)

More about this quote: wist.info/doyle-arthur-conan/8…

#quote #quotes #quotation #qotd #arthurconandoyle #sherlockholmes #sherlock #actions #belief #image #perspective #popularopinion #publicrelations #publicity #reality #record #takingcredit #truth

A quotation from Ambrose Bierce

AUTHENTIC, adj. Indubitably true — in someone’s opinion.

Ambrose Bierce (1842-1914?) American writer and journalist
“Authentic,” “Devil’s Dictionary” column, San Francisco Wasp (1881-04-09)

More about this quote: wist.info/bierce-ambrose/82290…

#quote #quotes #quotation #qotd #abrosebierce #devilsdictionary #authenticity #belief #bonafides #genuineness #judgment #legitimacy #opinion #perspective #trustworthiness #truth #verity

A quotation from Eric Hoffer

Propaganda does not deceive people; it merely helps them to deceive themselves.

Eric Hoffer (1902-1983) American writer, philosopher, longshoreman
Passionate State of Mind, Aphorism 260 (1955)

More about this quote: wist.info/hoffer-eric/19134/

#quote #quotes #quotation #qotd #erichoffer #agitprop #belief #bias #confirmationbias #disinformation #prejudice #propaganda #selfdeception #selfjustification

MONDAY MATINEE MUSIC VIDEO “Blown Away” https://www.youtube.com/watch?v=hLTKGxWqLVg

#synthpop #funk #britpop #buggles #nakedeyes #thelmahouston #OMD #chrisandrews #johnstamos #rogerdaltrey #davidessex #davyjones #monkees #mercy #singersongwriter #HoveUK #heart #love #belief

A quotation from Christopher Marlowe

   FAUSTUS. Come, I think hell’s a fable.
   MEPHISTOPHILES: Ay, think so still, till experience change thy mind.

Christopher "Kit" Marlowe (1564-1593) English dramatist and poet
The Tragicall History of the Life and Death of Doctor Faustus, Act 2, sc. 1 (sc. 5), l. 573ff (1594; 1604 “A” text)

More about this quote: wist.info/marlowe-christopher/…

#quote #quotes #quotation #qotd #christophermarlowe #kitmarlowe #belief #confirmation #damnation #experience #fable #hell

A quotation from Robert Ingersoll

Does any intelligent man now believe that God made man of dust, and woman of a rib, and put them in a garden, and put a tree in the midst of it? Was there not room outside of the garden to put his tree, if he did not want people to eat his apples?
   If I did not want a man to eat my fruit, I would not put him in my orchard.

Robert Green Ingersoll (1833-1899) American lawyer, freethinker, orator
Lecture (1884-01-20), “Orthodoxy,” Tabor Opera House, Denver, Colorado

More about this quote: wist.info/ingersoll-robert-gre…

#quote #quotes #quotation #qotd #robertingersoll #robertgreeningersoll #apple #belief #Bible #creation #disbelief #Eden #GardenofEden #Genesis #God #tree

Jennifer Windtin uusitun SEP-entryn unista ja uneksimisesta voisi ottaa lukeille vaikka heti, ellei 🥱 💤

https://plato.stanford.edu/entries/dreams-dreaming/

#sep #unet #uni #dreams #dreaming #belief #epistemology #kuvittelu #imagination #havainto #perception #harha #delusions #skepticism #havainto #experience #tietoisuus #consciousness #filosofia #philosophy

If we want to improve the lives of peoples living with #opioid #addiction, we will need more evidence-based decision making instead of #ideology, #opinion, and #belief.

https://jamanetwork.com/journals/jamanetworkopen/fullarticle/2844043

Please join us tonight as we continue our series exploring reactions to Jesus in Acts 13! Are we “in” or do we just think we are? https://youtube.com/live/Ci3qqDOSkY4

#Acts #Apostles #Christianity #Belief #Jesus

A quotation from Will Rogers

If some of those Birds would spend their time following His example instead of trying to figure out His mode of arrival and departure, they would come nearer getting confidence in their Church.

Will Rogers (1879-1935) American humorist
Column (1924-01-20), “Weekly Article: Send Mexico Our Wooden Ships, Too”
[58]

More info about this quote: wist.info/rogers-will/79044/

#quote #quotes #quotation #qotd #WillRogers #example #Jesus #belief #Christianity #church #goodworks #theology #wordsanddeeds #works #organizedreligion #religion

A quotation from Will Rogers

If some of those Birds would spend their time following His example instead of trying to figure out His mode of arrival and departure, they would come nearer getting confidence in their Church.

Will Rogers (1879-1935) American humorist
Column (1924-01-20), “Weekly Article: Send Mexico Our Wooden Ships, Too”
[58]

More info about this quote: wist.info/rogers-will/79044/

#quote #quotes #quotation #qotd #WillRogers #example #Jesus #belief #Christianity #church #goodworks #theology #wordsanddeeds #works #organizedreligion #religion

A quotation from Will Rogers

If some of those Birds would spend their time following His example instead of trying to figure out His mode of arrival and departure, they would come nearer getting confidence in their Church.

Will Rogers (1879-1935) American humorist
Column (1924-01-20), “Weekly Article: Send Mexico Our Wooden Ships, Too”
[58]

More info about this quote: wist.info/rogers-will/79044/

#quote #quotes #quotation #qotd #WillRogers #example #Jesus #belief #Christianity #church #goodworks #theology #wordsanddeeds #works #organizedreligion #religion

A quotation from Will Rogers

If some of those Birds would spend their time following His example instead of trying to figure out His mode of arrival and departure, they would come nearer getting confidence in their Church.

Will Rogers (1879-1935) American humorist
Column (1924-01-20), “Weekly Article: Send Mexico Our Wooden Ships, Too”
[58]

More info about this quote: wist.info/rogers-will/79044/

#quote #quotes #quotation #qotd #WillRogers #example #Jesus #belief #Christianity #church #goodworks #theology #wordsanddeeds #works #organizedreligion #religion