As with our earlier worship of saints and facts, there is something silly about grown men and women striving to reduce their vision of themselves and of civilization to bean counting. The message of the competition/efficiency/marketplace Trinity seems to be that we should drop the idea of ourselves developed over two and a half millennia. We are no longer beings distinguished by our ability to think and to act consciously in order to affect our circumstances. Instead we should passively submit ourselves and our whole civilization -- our public structures, social forms and cultural creativity -- to the abstract forces of unregulated commerce. It may be that most citizens have difficulty with the argument and would prefer to continue working on the idea of dignified human intelligence. If they must drop something, they would probably prefer to drop the economists.

Perhaps your hunger to belong is always active and intense because you belonged so totally before you came here. This hunger to belong is the echo and reverberation of your invisible heritage. You are from somewhere else, where you were known, embraced and sheltered. This is also the secret root from which all longing grows. Something in you knows, perhaps remembers, that eternal belonging liberates longing into its surest and most potent creativity. This is why your longing is often wiser than your conventional sense of appropriateness, safety and truth... Your longing desires to take you towards the absolute realization of all the possibilities that sleep in the clay of your heart; it knows your eternal potential, and it will not rest until it is awakened.

“An abolitionist is, as I have developed that notion, one who (1) maintains that we cannot justify animal use, however “humane” it may be; (2) rejects welfare campaigns that seek more “humane” exploitation, or single-issue campaigns that seek to portray one form of animal exploitation as morally worse than other forms of animal exploitation (e.g., a campaign that seeks to distinguish fur from wool or leather); and (3) regards veganism, or the complete rejection of the consumption or use of any animal products, as a moral baseline. An abolitionist regards creative, nonviolent vegan education as the primary form of activism, because she understands that the paradigm will not shift until we address demand and educate people to stop thinking of animals as things we eat, wear, or use as our resources.”

The twin aspects of genius, the passive and the active, are possessed by the fully realized artist; they also form the necessary equipment of the Adept. Yet in very few people are these twin aspects manifested. Nearly everyone has a capacity for the passive aspect, which involves some sort of appreciation of aesthetic values. There are few people totally unresponsive to the beauties of nature, and none at all that is not responsive to its ferocious manifestations.Fewer are able to respond profoundly to the beauty of natural phenomena, and fewer still to so-called works of art. It takes a degree of genius to respond to such manifestations the whole time. Artists in this category are among the saints, some of whom thrilled with rapture at the constant awareness of the total unity, harmony, and beauty of things.Such were Boehme, Ramakrishna, etc. Some yogis are immersed in an unsullied and vibrant bliss derived from the incessant contemplation of this 'world-bewitching maya'4-the breath-taking wonder of the great and glamorous illusion which surrounds us.On the other side of the fence, on the side of active or creative genius, there are yet fewer. Active or creative genius means nothing less than the ability to translate the wonder or the terror of the great lfla (the great play of life) in terms of visual, tactile, audible, olfactory, or some other sensual presentation of phenomena.But there is a third aspect of genius which is yet more rare. It is the ability to open the door of the theatre and admit the influences from outside, from the swarming gulfs beyond the grasp of the mind, and accessible only to the magical entity whose fantastic feelers can snare the most fugitive impulses as they flash through the holes in space, the kinks in time, to be reflected in the magic mirror of the artist's mind.

“Probably. When we got together and started throwing around the ideas, I just started bringing out some old riffs I used to play. 'Guarded' and 'Decadence' are pretty much straight-up, aggressive tracks on the album. Those were the first two ideas I had come up with. That set the tone right off the bat of it being a little bit more aggressive at times. Out of 19 songs that we tracked — 14 going on the album — that's a lot of material. We try to give every song its own identity. We don't want to fall in the rut of being a repetitious-sounding band. We don't want every song to sound like 'Down with the Sickness' or 'Prayer' . It's got to be a creative mood. It's got to be its own thing.”

“Michael Kahn's extraordinary leadership of our Drama Division has allowed our young actors to acquire the requisite tools they will need as they work in the profession in the time ahead. With intelligence, taste, creativity and a deep understanding of the world of the theater, Michael's legacy will have a positive impact on the profession for many generations. My colleagues and I are very pleased that Michael will remain as an active member of the Juilliard community through his continuing teaching responsibilities at the School. Juilliard has been one of my artistic homes throughout my theatrical career. I am grateful to the students and faculty for inspiring me and allowing me to grow both as a person and as an artist. Although I have determined that most of my energy and time needs to be concentrated now in Washington, I am more than pleased to remain on the faculty of this extraordinary institution.”

Neither black/red/yellow nor woman but poet or writer. For many of us, the question of priorities remains a crucial issue. Being merely "a writer" without a doubt ensures one a status of far greater weight than being "a woman of color who writes" ever does. Imputing race or sex to the creative act has long been a means by which the literary establishment cheapens and discredits the achievements of non-mainstream women writers. She who "happens to be" a (non-white) Third World member, a woman, and a writer is bound to go through the ordeal of exposing her work to the abuse and praises and criticisms that either ignore, dispense with, or overemphasize her racial and sexual attributes. Yet the time has passed when she can confidently identify herself with a profession or artistic vocation without questioning and relating it to her color-woman condition.

What ever happened to creativity? What ever happened to the passion? What ever happened to speaking ones mind? I'll tell you what happened. The kids aged, but never grew up. A baby can whine if it does not like something because it doesn't know better. What's your excuse? Stop getting offended whenever the wind blows your hair the wrong way! We will get nowhere if we continue to avoid truths to avoid offense. Speak your mind and do not be afraid of stepping on toes. The truth can be ugly, and that's what makes it so beautiful. Speak your mind, but don't take this as a chance to lose respect either. Always keep respect. If someone then still claims to be offended, it is not because of you, nor is it your fault. They simply don't like the taste of the bittersweet truth.

“This Christmas, I presented my wife with a new Mac mini... I am, as you might know, one of the more prominent Windows-based writers on the Web. This simple fact makes the notion that I'd buy a Mac for my wife seems like an April Fools joke, I know. But the truth is, I've owned one or more Macs since summer 2005, and I'm a big fan of Mac OS X, albeit one who is perhaps more honest about the system's shortcomings than the typical Mac fanatic. That said, Apple's computer systems are viable for a wide range of users, including graphic artists, photographers, and other creative types. And a truly simple system like the Mac mini is perfect for the mass market, those people who simply need email, Web access, and word processing.”

I hate wise men because they are lazy, cowardly, and prudent. To the philosophers' equanimity, which makes them indifferent to both pleasure and pain, I prefer devouring passions. The sage knows neither the tragedy of passion, nor the fear of death, nor risk and enthusiasm, nor barbaric, grotesque, or sublime heroism. He talks in proverbs and gives advice. He does not live, feel, desire, wait for anything. He levels down all the incongruities of life and then suffers the consequences. So much more complex is the man who suffers from limitless anxiety. The wise man's life is empty and sterile, for it is free from contradiction and despair. An existence full of irreconcilable contradictions is so much richer and creative. The wise man's resignation springs from inner void, not inner fire. I would rather die of fire than of void.