Good work finds the way between pride and despair.

It graces with health. It heals with grace.

It preserves the given so that it remains a gift.

By it, we lose loneliness: we clasp the hands of those who go before us, and the hands of those who come after us;

we enter the little circle of each other’s arms,

and the larger circle of lovers whose hands are joined in a dance,

and the larger circle of all creatures, passing in and out of life, who move also in a dance, to a music so subtle and vast that no ear hears it except in fragments.

• Wendell Berry

“There is no path to truth. Truth must be discovered, but there is no formula for its discovery. What is formulated is not true. You must set out on the uncharted sea, and the uncharted sea is yourself. You must set out to discover yourself, but not according to any plan or pattern, for then there is no discovery. Discovery brings joy—not the remembered, comparative joy, but joy that is every new. Self-knowledge is the beginning of wisdom in whose tranquility and silence there is the immeasurable.” – Krishnamurti

``

And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions.”

― Ira Glass

Every man is the sum total of his reactions to experience. As your experiences differ and multiply, you become a different man, and hence your perspective changes. This goes on and on. Every reaction is a learning process; every significant experience alters your perspective.

So it would seem foolish, would it not, to adjust our lives to the demands of a goal we see from a different angle every day? How could we ever hope to accomplish anything other than galloping neurosis?

The answer, then, must not deal with goals at all, or not with tangible goals, anyway. It would take reams of paper to develop this subject to fulfillment. God only knows how many books have been written on “the meaning of man” and that sort of thing, and god only knows how many people have pondered the subject. (I use the term “god only knows” purely as an expression.)* There’s very little sense in my trying to give it up to you in the proverbial nutshell, because I’m the first to admit my absolute lack of qualifications for reducing the meaning of life to one or two paragraphs.

• Hunter S. Thompson

I don’t know how you are so familiar to me—or why it feels less like I am getting to know you and more as though I am remembering who you are. How every smile, every whisper brings me closer to the impossible conclusion that I have known you before, I have loved you before—in another time, a different place, some other existence

“He’s not perfect. You aren’t either, and the two of you will never be perfect. But if he can make you laugh at least once, causes you to think twice, and if he admits to being human and making mistakes, hold onto him and give him the most you can. He isn’t going to quote poetry, he’s not thinking about you every moment, but he will give you a part of him that he knows you could break. Don’t hurt him, don’t change him, and don’t expect for more than he can give. Don’t analyze. Smile when he makes you happy, yell when he makes you mad, and miss him when he’s not there. Love hard when there is love to be had. Because perfect guys don’t exist, but there’s always one guy that is perfect for you.” 

“You may not be her first, her last, or her only. She loved before she may love again. But if she loves you now, what else matters? She’s not perfect—you aren’t either, and the two of you may never be perfect together but if she can make you laugh, cause you to think twice, and admit to being human and making mistakes, hold onto her and give her the most you can. She may not be thinking about you every second of the day, but she will give you a part of her that she knows you can break—her heart. So don’t hurt her, don’t change her, don’t analyze and don’t expect more than she can give. Smile when she makes you happy, let her know when she makes you mad, and miss her when she’s not there.”          ~ Bob Marley

“Andre, I won’t ever try to change you, because I’ve never tried to change anybody. If I could change somebody, I’d change myself. But I know I can give you structure and a blueprint to achieve what you want. There’s a difference between a plow horse and a racehorse. You don’t treat them the same. You hear all this talk about treating people equally, and I’m not sure equal means the same. As far as I’m concerned, you’re a racehorse, and I’ll always treat you accordingly. I’ll be firm, but fair. I’ll lead, never push. I’m not one of those people who expresses or articulates feelings very well, but from now on, just know this: It’s on, man. It is on. You know what I’m saying? We’re in a fight, and you can count on me until the last man is standing. Somewhere up there is a star with your name on it. I might not be able to help you find it, but I’ve got pretty strong shoulders, and you can stand on my shoulders while you’re looking for that star. You hear? For as long as you want. Stand on my shoulders and reach, man. Reach.” 

• Gil Reyes, Andre Agassi’s Coach [excerpt from ‘Open’]

*In the meantime, cling tooth and nail to the following rule: not to give in to adversity, not to trust prosperity, and always take full note of fortune’s habit of behaving just as she pleases. *

• *—SENECA

In life our first job is this, to divide and distinguish things into two categories: externals I cannot control, but the choices I make with regard to them I do control. Where will I find good and bad? In me, in my choices. —EPICTETUS

Man does not simply exist but always decides what his existence will be, what he will become the next moment. By the same token, every human being has the freedom to change at any instant. 

—Viktor Frankl

The old ways are dead. And you need people around you who concur. That means hanging out more with the creative people, the freaks, the real visionaries, than you’re already doing. Thinking more about what their needs are, and responding accordingly. Avoid the dullards; avoid the folk who play it safe. They can’t help you any more. Their stability model no longer offers that much stability. They are extinct, they are extinction. 

• Hugh MacLeod (Source)

~ Dead Poets Society

~Joan Didio

~Bob Dylan

*People are afraid of themselves, of their own reality; their feelings most of all. People talk about how great love is, but that’s bullshit. Love hurts. Feelings are disturbing. People are taught that pain is evil and dangerous. How can they deal with love if they’re afraid to feel? Pain is meant to wake us up. People try to hide their pain. But they’re wrong. Pain is something to carry, like a radio. You feel your strength in the experience of pain. It’s all in how you carry it. That’s what matters. Pain is a feeling. Your feelings are a part of you. Your own reality. If you feel ashamed of them, and hide them, you’re letting society destroy your reality. You should stand up for your right to feel your pain. *  **~Jim Morrison

The deeper that sorrow carves into your being, the more joy you can contain.
Is not the cup that hold your wine the very cup that was burned in the potter’s oven?
And is not the lute that soothes your spirit, the very wood that was hollowed with knives?

When you are joyous, look deep into your heart and you shall find it is only that which has given you sorrow that is giving you joy.

When you are sorrowful look again in your heart, and you shall see that in truth you are weeping for that which has been your delight.

Some of you say, “Joy is greater than sorrow,” and others say, “Nay, sorrow is the greater."

But I say unto you, they are inseparable.
Together they come, and when one sits alone with you at your board, remember that the other is asleep upon your bed.

Verily you are suspended like scales between your sorrow and your joy.

Only when you are empty are you at standstill and balanced.

When the treasure-keeper lifts you to weigh his gold and his silver, needs must your joy or your sorrow rise or fall.

~Khalil Gibran

Yesterday I lived bewildered, in illusion. But now I am awake, flawless and serene, beyond the world. From my light the body and the world arise. So all things are mine, or nothing is.

• Ashtavakra Gita

A computer is like a violin. You can imagine a novice trying first a phonograph and then a violin. The latter, he says, sounds terrible. That is the argument we have heard from our humanists and most of our computer scientists. Computer programs are good, they say, for particular purposes, but they aren’t flexible. Neither is a violin, or a typewriter, until you learn how to use it.

*- M. Minsky (in “Why Programming Is a Good Medium for Expressing Poorly-Understood and Sloppily-Formulated Ideas”

There are several interesting anecdotes related to Dirac. I’ve tried to capture a few of them. **

• Logic and precision Dirac was so unusual in the logic and precision of his interaction with the world, both in and out of physics, that legions of “Dirac stories” have become attached to him and have acquired a life of their own. Often these stories revolve around Dirac saying exactly what he meant and no more. Once when someone, making polite conversation at dinner, commented that it was windy, Dirac left the table and went to the door, looked out, returned to the table and replied that indeed it was windy. It has been said in jest that his spoken vocabulary consisted of “Yes”, “No”, and “I don’t know”.- Dirac on Dostoevski Once Peter Kapitza, the Russian physicist, gave Dirac an English translation of Dostoevski’s Crime and Punishment. “Well, how do you like it?” asked Kapitza when Dirac returned the book. “It is nice,” said Dirac, “but in one of the chapters the author made a mistake. He describes the Sun rising twice on the same day.” This was his one and only comment on Dostoevski’s novel.- Clarity Dirac’s writing was famous for its clarity and simplicity. When Niels Bohr was writing a scientific paper - with many hesitations and redraftings, as was his custom, Bohr stopped: “I do not know how to finish this sentence.” Dirac replied: “I was taught at school that you should never start a sentence without knowing the end of it.” - It’s not a question At the quesiton period after a Dirac lecture at the University of Toronto, somebody in the audience remarked: “Professor Dirac, I do not understand how you derived the formula on the top left side of the blackboard.” “This is not a question,” snapped Dirac, “it is a statement. Next question, please.”

• There was a silly damn bird called a Phoenix back before Christ: every few hundred years he built a pyre and burned himself up. He must have been first cousin to Man. But every time he burnt himself up he sprang out of the ashes, he got himself born all over again. And it looks like we’re doing the same thing, over and over, but we’ve got one damn thing the Phoenix never had. We know the damn silly thing we just did. We know all the damn silly things we’ve done for a thousand years, and as long as we know that and always have it around where we can see it, some day we’ll stop making the goddam funeral pyres and jumping into the middle of them. We pick up a few more people that remember, every generation.

• Some day the load we’re carrying with us may help someone. But even when we had the books on hand, a long time ago, we didn’t use what we got out of them. We went right on insulting the dead. We went right on spitting in the graves of all the poor ones who died before us. **We’re going to meet a lot of lonely people in the next week and the next month and the next year. And when they ask us what we’re doing, you can say, We’re remembering. That’s where we’ll win out in the long run. And some day we’ll remember so much that we’ll build the biggest goddamn steam-shovel in history and dig the biggest grave

“When people ask me how do you make it in show business or whatever, what I always tell them — And nobody ever takes note of it ‘cuz it’s not the answer they wanted to hear. What they want to hear is here’s how you get an agent, here’s how you write a script, here’s how you do this — But I always say, “Be so good they can’t ignore you.” If somebody’s thinking, “How can I be really good?”, people are going to come to you. It’s much easier doing it that way than going to cocktail parties.”

-Steve Martin.

From his autobiography:

I did stand-up comedy for eighteen years. Ten of those years were spent learning, four years were spent refining, and four were spent in wild success. My most persistent memory of stand-up is of my mouth being in the present and my mind being in the future: the mouth speaking the line, the body delivering the gesture, while the mind looks back, observing, analyzing, judging, worrying, and then deciding when and what to say next. Enjoyment while performing was rare—enjoyment would have been an indulgent loss of focus that comedy cannot afford. After the shows, however, I experienced long hours of elation or misery depending on how the show went, because doing comedy alone onstage is the ego’s last stand.

My decade is the seventies, with several years extending on either side. Though my general recall of the period is precise, my memory of specific shows is faint. I stood onstage, blinded by lights, looking into blackness, which made every place the same. Darkness is essential: If light is thrown on the audience, they don’t laugh; I might as well have told them to sit still and be quiet. The audience necessarily remained a thing unseen except for a few front rows, where one sourpuss could send me into panic and desperation. The comedian’s slang for a successful show is “I murdered them,” which I’m sure came about because you finally realize that the audience is capable of murdering you.

Stand-up is seldom performed in ideal circumstances. Comedy’s enemy is distraction, and rarely do comedians get a pristine performing environment. I worried about the sound system, ambient noise, hecklers, drunks, lighting, sudden clangs, latecomers, and loud talkers, not to mention the nagging concern “Is this funny?” Yet the seedier the circumstances, the funnier one can be. I suppose these worries keep the mind sharp and the senses active. I can remember instantly retiming a punch line to fit around the crash of a dropped glass of wine, or raising my voice to cover a patron’s ill-timed sneeze, seemingly microseconds before the interruption happened.

I was seeking comic originality, and fame fell on me as a by-product. The course was more plodding than heroic: I did not strive valiantly against doubters but took incremental steps studded with a few intuitive leaps. I was not naturally talented—I didn’t sing, dance, or act—though working around that minor detail made me inventive.

I was not self-destructive, though I almost destroyed myself. In the end, I turned away from stand-up with a tired swivel of my head and never looked back, until now. A few years ago, I began researching and recalling the details of this crucial part of my professional life—which inevitably touches upon my personal life—and was reminded why I did stand-up and why I walked away.

In a sense, this book is not an autobiography but a biography, because I am writing about someone I used to know. Yes, these events are true, yet sometimes they seemed to have happened to someone else, and I often felt like a curious onlooker or someone trying to remember a dream. I ignored my stand-up career for twenty-five years, but now, having finished this memoir, I view this time with surprising warmth. One can have, it turns out, an affection for the war years.

Disneyland Was My Versailles

In the summer of 1955, Disneyland opened in Anaheim, California, on a day so sweltering the asphalt on Main Street was as soft as a yoga mat. Two-inch headlines announced the event as though it were a victory at sea. A few months later, when a school friend told me that kids our age were being hired to sell Disneyland guidebooks on weekends and in the summer, I couldn’t wait. I pedaled my bicycle the two miles to Disneyland, parked it in the bike rack—locks were unnecessary—and looked up to see a locomotive from yesteryear, its whistle blowing loudly and its smokestack filling the air with white steam, chugging into the turn-of-the-century depot just above a giant image of Mickey Mouse rendered in vibrantly colored flowers. I went to the exit, told a hand-stamper that I was applying for a job, and was directed toward a souvenir stand a few steps inside the main gate. I spoke with a cigar-chomping vendor named Joe and told him my résumé: no experience at anything. This must have impressed Joe, because I was issued a candy-striped shirt, a garter for my sleeve, a vest with a watch pocket, a straw boater hat, and a stack of guidebooks to be sold for twenty-five cents each, from which I was to receive the enormous sum of two cents per book. The two dollars in cash I earned that day made me feel like a millionaire.

Guidebooks were sold only in the morning, when thousands of people poured through the gates. By noon I was done, but I didn’t have to leave. I had free admission to the park. I roamed through the Penny Arcade, watched the Disneyland Band as they marched around the plaza, and even found an “A” ticket in the street, allowing me to choose between the green-and-gold-painted streetcar or the surrey ride up Main Street. Because I wisely kept on my little outfit, signifying that I was an official employee, and maybe because of the look of longing on my face, I was given a free ride on the Tomorrowland rocket to the moon, which blasted me into the cosmos. I passed by Mr. Toad and Peter Pan rides, toured pirate ships and Western forts. Disneyland, and the idea of it, seemed so glorious that I believed it should be in some faraway, impossible-to-visit Shangri-la, not two miles from the house where I was about to grow up. With its pale blue castle flying pennants emblazoned with a made-up Disney family crest, its precise gardens and horse-drawn carriages maintained to jewel-box perfection, Disneyland was my Versailles. **From Born Standing Up: A Comic’s Life by Steve Martin.

– BarbaraLiskov in CACM July 2009 issue

“Consider the quit at every juncture. You may be inspired to jump even if the ship isn’t actually sinking. Always get out while you still can, but consider getting out the minute it crosses your mind.

Quit to combat stasis. Quit to avoid exhaustion. Quit as a method of crisis intervention. Quit to prove a point. Quit to see what you are made of. Quit because you are driven to it. Quit because you are inspired. Quite because you can.”

(The Quit: A Consideration of the Art of Quitting, Evan Harris, Simon and Shuster)

Yet each man kills the thing he loves
By each let this be heard,
Some do it with a bitter look,
Some with a flattering word,
The coward does it with a kiss,
The brave man with a sword!
~ Oscar Wilde

Two prerequisites of intellectual fame have been well recognized: the gift of extraordinary intelligence, and the luck of unusual circumstances (time, social class and so forth). I believe that a third factor - Temperament - has not been given given its due. At least in my limited observation of our currently depleted world, the temperamental factor seems least variable of all. Among people I have met, the few whom I would term “Great” all share a kind of unquestioned, fierce dedication; an utter lack of doubt about the value of their activities (or at least an internal impulse that drives through any such angst); and above all, a capacity to work (or at least to be mentally alert for unexpected insights) at every available moment of every day in their lives. I have known other people of equal or greater intellectual talent who succumbed to mental illness, self doubt, or plain old-fashioned laziness. From Page 76, “The Lying Stones of Marrakech” (2000) by Paleontologist and Evolutionary biologist, the late Stephen Jay Gould.

[ Found via Onionesque Reality

We love the tangible, the confirmation, the palpable, the real, the visible, the concrete, the known, the seen, the vivid, the visual, the social, the embedded, the emotional laden, the salient, the stereotypical, the moving, the theatrical, the romanced, the cosmetic, the official, the scholarly-sounding verbiage (b******t), the pompous Gaussian economist, the mathematicized crap, the pomp, the Academie Francaise, Harvard Business School, the Nobel Prize, dark business suits with white shirts and Ferragamo ties, the moving discourse, and the lurid. Most of all we favor the narrated.

Alas, we are not manufactured, in our current edition of the human race, to understand abstract matters — we need context. Randomness and uncertainty are abstractions. We respect what has happened, ignoring what could have happened. In other words, we are naturally shallow and superficial — and we do not know it. This is not a psychological problem; it comes from the main property of information. The dark side of the moon is harder to see; beaming light on it costs energy. In the same way, beaming light on the unseen is costly in both computational and mental effort. ~Nassim Nicholas Taleb, epistemologist