(Explore) I have been reading the reports on global warming at the IPCC, Intergovernmental Panel on Climate Change. As a business school professor, I am particularly interested in how human communities, economies, and businesses will adapt to the challenges of the future. I have been studying the polar region and Greenland in particular because I think these places are the most affected right now--by studying how communities and economies in this region adapt, perhaps there can be lessons for all of us.
Once one gets over the shocking facts in the report--for example, there is now at least one model of ice melt that has the north pole free of ice, all year, by 2013--the interesting tone of the report is that adaptation will be highly localized. And indeed at my conference, where we had a number of environmentalists, the message was the same: While climate change is global, its effects and solutions will be highly localized. Right now we see a lot of "top-down" activity--Kyoto accord, Walmart's positive efforts--but in the future the resilience of our society will be based on local creativity and political courage.
"Sharing Silent Moments"
Two friends sharing moments of full complicity. No words needed.
You quiet stand
With a sweet look
While I rest my hand
in my memories book
Have a great weekend my Flick friends
Seize your days
Texture by: Lenabem-anna
Thank you Anna
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Some collaboration has to take place in the mind between the woman and the man before the art of creation can be accomplished. Some marriage of opposites has to be consummated. The whole of the mind must lie wide open if we are to get the sense that the
It is almost as if you were frantically constructing another world while the world that you live in dissolves beneath your feet, and that your survival depends on completing this construction at least one second before the old habitation collapses.
I have asked a lot of my emotions --one hundred and twenty stories. The price was high, right up with Kipling, because there was one little drop of something, not blood, not a tear, not my seed, but me more intimately than these, in every story, it was the extra I had. Now it has gone and I am just like you now.
One measure of how creative you are is how you respond to changes in your circumstances and environment. How flexible are you? Consider how water adapts to its environment: evaporation, condensation, snowflake, melting, flowing, goes around rocks, fills containers, etc.
The creative process involves getting input, making a recommendation, getting critical review, getting more input, improving the recommendation, getting more critical review... again and again and again.
The creative person, the person who moves from an irrational source of power, has to face the fact that this power antagonizes. Under all the superficial praise of the creative is the desire to kill. It is the old war between the mystic and the nonmystic, a war to the death.
Whoever undertakes to create soon finds himself engaged in creating himself. Self-transformation and the transformation of others have constituted the radical interest of our century, whether in painting, psychiatry, or political action.
Ideally a painter (and, generally, an artist) should not become conscious of his insights: without taking the detour through his reflective processes, and incomprehensibly to himself, all his progress should enter so swiftly into the work that he is unable to recognize them in the moment of transition. Alas, the artist who waits in ambush there, watching, detaining them, will find them transformed like the beautiful gold in the fairy tale which cannot remain gold because some small detail was not taken care of.
An original is a creation motivated by desire. Any reproduction of an originals motivated be necessity. It is marvelous that we are the only species that creates gratuitous forms. To create is divine, to reproduce is human.
Thoughts give birth to a creative force that is neither elemental nor sidereal. Thoughts create a new heaven, a new firmament, a new source of energy, from which new arts flow. When a man undertakes to create something, he establishes a new heaven.
All the lies and evasions by which man has nourished himself -- civilization, in a word is the fruits of the creative artist. It is the creative nature of man which has refused to let him lapse back into that unconscious unity with life which characterizes the animal world from which he made his escape.
Creativity, as has been said, consists largely of rearranging what we know in order to find out what we do not know. Hence, to think creatively, we must be able to look afresh at what we normally take for granted.
Creative powers can just as easily turn out to be destructive. It rests solely with the moral personality whether they apply themselves to good things or to bad. And if this is lacking, no teacher can supply it or take its place.
Is not the tremendous strength in men of the impulse to creative work in every field precisely due to their feeling of playing a relatively small part in the creation of living beings, which constantly impels them to an overcompensation in achievement?
From things that have happened and from things as they exist and from all things that you know and all those you cannot know, you make something through your invention that is not a representation but a whole new thing truer than anything true and alive, and you make it alive, and if you make it well enough, you give it immortality. That is why you write and for no other reason that you know of. But what about all the reasons that no one knows?
All in all, the creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act. This becomes even more obvious when posterity gives its final verdict and sometimes rehabilitates forgotten artists.