inspiration

416 items found

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Right and Wrong

When Bankei held his seclusion-weeks of meditation, pupils from many parts of Japan came to attend. During one of these gatherings a pupil was caught stealing. The matter was reported to Bankei with the request that the culprit be expelled. Bankei ignored the case.

Later the pupil was caught in a similar act, and again Bankei disregarded the matter. This angered the other pupils, who drew up a petition asking for the dismissal of the thief, stating that otherwise they would leave in a body.

When Bankei had read the petition he called everyone before him. “You are wise brothers,” he told them. “You know what is right and what is not right. You may go somewhere else to study if you wish, but this poor brother does not even know right from wrong. Who will teach him if I do not? I am going to keep him here even if all the rest of you leave.”

A torrent of tears cleansed the face of the brother who had stolen. All desire to steal had vanished.

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Marcel Duchamp 1968 BBC interview
 

     
   
 

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On My Mind: The importance of words

There is of course a
difference between words in the artist’s mind and words of critique or
review. The artist’s words are words of intent, of defining the vision
or painting’s aim, and may be silent, or private. The critic’s words are
to conjure the achieved effect of the artist as the critic sees it. I
think trying to define what and why you are painting is important. These
words can enrich the way in which you put paint down, they can
determine what you choose to eliminate or emphasize. In itself a title
to a painting is already a lead-in both for you the artist and for your
viewer. I was recently looking at work of Korean painter whose work is
entirely abstract, a color field. His titles pertain to Korean pottery
referencing celadon and antique glazes. No question that expands one’s
appreciation/viewing.

—Anonymous

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All of us have to work toward a definite future… that can motivate and inspire people to change the world.

— Peter Thiel

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Neil Pasricha: The 3 A’s of awesome
 

     
   
 

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“My colour has no symbolic function whatever. I don’t want any colour to
be noticeable. I want the colour to be the colour of life, so that you
would notice it as being irregular if it changed. I don’t want it to
operate in the modernist sense as colour, something independent. I don’t
want people to say, “Oh, what was that red or that blue picture of
yours, I’ve forgotten what it was.”

Lucian Freud a Painted Life

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Real Prosperity

A rich man asked Sengai to write something for the continued prosperity of his family so that it might be treasured from generation to generation.

Sengai obtained a large sheet of paper and wrote: “Father dies, son dies, grandson dies.”

The rich man became angry. “I asked you to write something for the happiness of my family! Why do you make such a joke of this?”

“No joke is intended,” explained Sengai. “If before you yourself die your son should die, this would grieve you greatly. If your grandson should pass away before your son, both of you would be broken-hearted. If your family, generation after generation, passes away in the order I have named, it will be the natural course of life. I call this real prosperity.” 

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The World Within – C.G. Jung in His Own Words

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Bruce Lee  – The Lost Interview
 

     
   
 

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David Bowie – Inspirations (1997)
 

     
   
 

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The Power of Art – Mark Rothko 

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“I am not an abstractionist.. .I am not interested in the relationships
of color or form or anything else.. .I’m interested only in expressing
basic human emotions — tragedy, ecstasy, doom and so on — and the fact
that a lot of people break down and cry when confronted with my pictures
show that I communicate those basic human emotions.. .The people
who weep before my pictures are having the same religious experience I
had when I painted them. And if you, as you say, are moved only by their
color relationships, then you miss the point!”— Mark Rothko 

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Steve Jobs Full Interview at 2010 D8 Conference w Mossberg

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