Your task as a student of human nature is twofold: First, you must understand and accept the theatrical quality of life. You do not moralize and rail against the role-playing and the wearing of masks so essential to smooth social functioning. In fact, your goal is to play your part on the stage of life with consummate skill, attracting attention, dominating the limelight, and making yourself into a sympathetic hero or heroine. Second, you must not be naive and mistake people's appearances for reality. You are not blinded by people's acting skills. You transform yourself into a master decoder of their true feelings, working on your observation skills and practicing them as much as you can in daily life.
Robert GreeneRelated topics
acting attention daily essential fact goal hero heroine human life making master mistake naive nature observation play practicing quality rail reality second skill smooth social stage student task theatrical transform wearing working limelight decoder functioning role-playing feelingsRelated quotes
Socrates compared living without thinking systematically to practicing an activity like pottery or shoemaking without following or even knowing of technical procedures. One would never imagine that a good pot or shoe would result from intuition alone; why then assume that the more complex task of directing one's life could be undertaken without any sustained reflection on premises or goals? Perhaps because we don't believe that directing our lives is in fact complicated. Certain difficult activities look very difficult from the outside, while other equally difficult activities look very easy. Arriving at sound views on how to live falls into the second category, making a pot or a shoe into the first.
Alain de Botton
Caring for people often takes the form of concern for the quality of their stories, not for their feelings. Indeed, we can be deeply moved even by events that change the stories of people already dead. We feel pity for a man who died believing in his wife's love for him when we hear that she had a lover for many years and stayed with her husband only for his money. We pity the husband although he had lived a happy life. We feel the humiliation of a scientist who made a discovery that was proved false after she died, although she did not feel the humiliation. Most important, we all care intensely for the narrative of our own life and very much want it to be a good story, with a decent hero.
Daniel Kahneman
From the preceding examples, we may get some idea of the change in perspective that may occur in our reading and interpretation of the philosophical works of antiquity when we consider them from the point of view of the practice of spiritual exercises. Philosophy then appears in its original aspect: not as a theoretical construct, but as a method for training people to live and to look at the world in a new way. It is an attempt to transform mankind. Contemporary historians of philosophy are today scarcely inclined to pay attention to this aspect, although it is an essential one. The reason for this is that, in conformity with a tradition inherited from the Middle Ages ... they consider philosophy to be purely abstract-theoretical activity.
Pierre Hadot
So-called immobile objects exist only in movement. Immobile, certain, and permanent things, ideas, works and beliefs change, transform, and disintegrate. Immobile objects are snapshots of a movement whose existence we refuse to accept, because we ourselves are only an instant in the great movement. Movement is the only static, final, permanent, and certain thing. Static means transformation. Let us be static together with movement. Move statically! Be static! Be movement! Believe in movement's static quality. Believe in change. Do not hold onto anything. Change! Do not pinpoint anything! Everything about us is movement. Everything around us is change. Believe in movement's static quality. Be static.
Jean Tinguely
Philip Kaufman's Twisted walks like a thriller and talks like a thriller, but it squawks like a turkey.
But back to deus ex machina. This is a phrase you will want to study and master, not merely to amaze friends during long bus journeys but because it so perfectly describes what otherwise might take you thousands of words. Imagine a play on a stage. The hero is in a fix. The dragon is breathing fire, his sword is broken, his leg is broken, his spirit is broken, and the playwright's imagination is broken. Suddenly there is the offstage noise of the grinding of gears, and invisible machinery lowers a god onto the stage, who slays the dragon, heals the hero, and fires the playwright. He is the "god from the machine."
Roger Ebert
