Best 5258 quotes in «creativity quotes» category

Once upon a time ago, you loved me in Photoshop. When I was monochromatic, you gave me texture. You went through my layer mask and hit......'Reveal All'. I remember when you stared at me like I was saturated; but, sometimes I don't remember that once upon a time ago without seeing your background image losing its magic lens.

Once you get off the bandwagon of believing that truth is your enemy and is bad news with all kinds of associated unhappy obligations, you can then afford to take it on with some enthusiasm and start to have some fun with it.

Once you get off the bandwagon of believing that truth is your enemy and is bad news with all kinds of associated unhappy obligations, you can then afford to take it on with some enthusiasm and start to have some fun with it. You can begin to trust yourself and play with mystery and big questions without the need for a crutch of an answer to lean on and sell to others (“Here you go, this crutch worked for me.”). And you then begin to see these big words, like imagination, fearlessness and truth as signposts to more fun, instead of the reverse as you do now. To start the engine, just follow what you yearn for, make a contract with that which compels you, and fulfill the trust of that contract through choice and action.

One author said "I write because I want to live a footprint in the sands of history.” It's hard to live a footprint in the sands of history when giants are passing through the same sands unless you are one of the giants

One could certainly call Diaghilev a creative genius, although it is not easy to analyse the nature of his creative gift. He practised neither painting not sculpture, nor was he a professional writer; for his few critical essays, remarkable as they were as proofs of his taste and judgement, did not amount to much – and anyway Serge hated the business of writing. He even lost faith before long in any vocation he may have felt for music, which was his real speciality. In no branch of art did he become an executant or a creator: and yet one cannot deny that his whole activity was creative.

One day a young daughter was watching her mother make a roast for the family. She watched as her mother cut off the two ends of the roast and put it in the pan, along with the potatoes and vegetables. Perplexed by the procedure, the child asked why her mother cut off both ends. The mother smiled and answered, “Because that’s the way grandma always did it.” The next time the child saw her grand- ma, she asked her why she did this. Her grandma answered that she had cut off the ends of her roasts and baked them in a small pan because the stove she had was so small. Like the girl’s mother, many of us do things a certain way be- cause that’s the way they have always been done, and we never nd out if those things are still relevant today. So let’s take a moment and think outside the box of what has been done in the past, asking God to reveal Himself to us afresh.

One could make a nice link between imagination and spirit. To make that link, all we need is some inspiration. Essentially, imagination has the innate potential to compel or inspire and to set in motion causation. That’s why it exists.

One doesn’t arrive — in words or in art — by necessarily knowing where one is going. In every work of art something appears that does not previously exist, and so, by default, you work from what you know to what you don’t know. You may set out for New York but you may find yourself as I did in Ohio. You may set out to make a sculpture and find that time is your material. You may pick up a paint brush and find that your making is not on canvas or wood but in relations between people. You may set out to walk across the room but getting to what is on the other side might take ten years. You have to be open to all possibilities and to all routes — circuitous or otherwise. But not knowing, waiting and finding — though they may happen accidentally, aren’t accidents. They involve work and research. Not knowing isn’t ignorance. (Fear springs from ignorance.) Not knowing is a permissive and rigorous willingness to trust, leaving knowing in suspension, trusting in possibility without result, regarding as possible all manner of response. The responsibility of the artist … is the practice of recognizing.

One does not create beauty, one surrenders to it.

One is either an artist or one is not. It is not something one becomes. It is something that one is from birth. We do not study to be artists. We study to become more proficient. To understand more.

One might say that the difficulty in rearing children has to do with the ambiguities of independence. The child must separate from the parents; the parent must allow the child to discover his or her own reality. Where there was one, there must be two. But this separation, though necessary, is a complex and often tormented experience. The relationship between separation and loving attachment has to be negotiated each time afresh... There is no theory that can totally guide the parent...In the act of creation, there is perhaps inevitable sadness…(p.20)

One of her favorite fancies was that on “the outside”, as she called it, thoughts were waiting for people to call them.

One needs to pursue some sort of a creative interest in order to keep life from eating us alive.

One of the few things I know about writing is this:spend it all, shoot it, play it, lose it, right away, every time. Do not hoard what seems good for a later place in the book, or for another book; give it, give it all, give it now. The impulse to save something good for a better place later is a signal to spend it now. Something more will arise later, something better. These things fill from behind, from beneath, like well water.

One of the biggest challenges for modern management is how to put the right people with the right capability in the right position to solve the right problem at the right time.

One of the great images to come down to us through Zen Buddhism is the encounter between an enlightened master and an advanced apprentice during the course of a shared meal. The apprentice, becoming fed up with the stress and waiting and the master’s apparent disregard for him, demands an explanation without complication of exactly how to become enlightened. The master asks, “Have you finished your rice?” “Yes,” says the apprentice. “Then go wash your bowl.

One of the most connective things we can do for ourselves, is to become world travelers of our own internal landscapes. What i love about creating art, is the excitement of turning that landscape inside out for all to see. And the kind of courage that takes, when i don't know what the outcome will be...

One of the most moral acts is to create a space in which life can move forward.

One of the most powerful wellsprings of creative energy seems to be falling in love with something.

One of the strangest things is the act of creation. You are faced with a blank slate—a page, a canvas, a block of stone or wood, a silent musical instrument. You then look inside yourself. You pull and tug and squeeze and fish around for slippery raw shapeless things that swim like fish made of cloud vapor and fill you with living clamor. You latch onto something. And you bring it forth out of your head like Zeus giving birth to Athena. And as it comes out, it takes shape and tangible form. It drips on the canvas, and slides through your pen, it springs forth and resonates into the musical strings, and slips along the edge of the sculptor’s tool onto the surface of the wood or marble. You have given it cohesion. You have brought forth something ordered and beautiful out of nothing. You have glimpsed the divine.

One should not confuse creativity with whining.

[One way] researchers sometimes evaluate people's judgments is to compare those judgments with those of more mature or experienced individuals. This method has its limitations too, because mature or experienced individuals are sometimes so set in their ways that they can't properly evaluate new or unique conditions or adopt new approaches to solving problems.

One who takes the road less traveled earns the rewards most missed.

Only Boiled Seeds are afraid of failure.

Only sensual women can reignite men’s creativity and fire. They can increase their will to work hard and reach their fullest potential.

On the high-end spectrum of emotions, which are innately connected to intuition and direct comprehension as well as imagination and creativity, meaning true empathy and knowledge, appreciative realization, transformation and invention, one finds a richer and more voluptuous combination of experience. Unfortunately, to “get there,” one has to be willing to sacrifice what is known for what is not.

Only when you are secure enough not to fear immediate survival can you display creative intelligence in anything you do.

On the great canvas of time We all create our own masterpiece. Choreographing our steps across minutes and hours Dancing over the days Painting pictures over months and Writing our stories on the years. Singing our songs that echo across eons. We are all a thread in the talent tapestry. A snapshot in the cosmic, collective collage.

On those who try to make me their guru or master, my approach is to start destroying that from the first moment we meet. It probably seems naive and idealistic, but I rely on basic, old-fashioned qualities in keeping my interactions clean: integrity, chivalry, honesty. In my experience, it’s not that difficult to eliminate the guru paradigm and stereotype, if one really wants to. Finally, it comes down to simply not accepting a role or the associated temptations offered.

Opportunity comes to everyone it depends on you whether you take it or leave it. Learn to take risks and play hard because at the end you'd be thankful for your struggle.

Or maybe I discovered something more fundamental: worry is a constriction. A mind narrows when it has too much to bear. Art is not born of unwanted constriction. Art wants formless and spacious quiet, anti-social daydreaming, time away from the consumptive volume of everyday life.

Originality brings more bumps in the road, yet it leaves us with more happiness and a greater sense of meaning.

Originality is the best form of rebellion.

Our ability to solve problem is limited by our conception of what is feasible.

Our actions are highly magnetic to our thoughts.

Open your umbrella of creativity when glaring heat of adversity hits you unaware." ~ Angelica Hopes, If I Could Tell You

Originality of mind untainted, And enthusiasm for life, unlimited.

Orwell's short and intense life has for years borne witness to some of those verities of which we were already aware. Parties and churches and states cannot be honest, but individuals can. Real books cannot be written by machines or committees. The truth is not always easy to discern, but a lie can and must be called by its right name. And the imagination, like certain wild animals, as Orwell himself once put it, will not breed in captivity. Actually, that last metaphor is beautiful but inaccurate. Even in the most dire conditions, there is a human will to resist coercion. We must believe that even now in North Korea, there are ideas alive inside human brains that were not put there by any authority.

Originality has nothing to do with producing something ’ new’ - it is about seeking the source, the primordial ground from which you draw and have always drawn your being. It comes about when one works from one’s origins, it is the dance of the eternal return… and is as ancient as the Dreamtime.

Originality is greedy - it requires full engagement.

Orthodoxy whether of the right or of the left is the graveyard of creativity.

Our culture has beheld with suspicion unproductive time, things not utilitarian, and daydreaming in general, but we live in a time when it is especially challenging to articulate the importance of experiences that don’t produce anything obvious, aren’t easily quantifiable, resist measurement, aren’t easily named, are categorically in-between

Our current education system was created in the late 1800s and early 1900s, and was modeled after the new factories of the industrial revolution. Public schools, set up to supply the factories with a skilled labor force, crammed education into a relatively small number of years. We have tried to pack more and more in while extending schooling up to age 24 or 25, for some segments of the population. In general, such an approach still reflects factory thinking—get your education now and get it efficiently, in classrooms in lockstep fashion. Unfortunately, most people learn in those classrooms to hate education for the rest of their lives. The factory system doesn't work in the modern world, because two years after graduation, whatever you learned is out of date. We need education spread over a lifetime, not jammed into the early years—except for such basics as reading, writing, and perhaps citizenship. Past puberty, education needs to be combined in interesting and creative ways with work. The factory school system no longer makes sense.

Our creativity is a universe within this universe, certainly a much bigger one!

Our differences will also show up from time to time, underscoring the uniqueness of our personal endowments, the variety of our experiences, and the creativity of our sovereign God.

Our future success is directly proportional to our ability to understand, adopt and integrate new technology into our work.

Our job in this life is not to shape ourselves into some ideal we imagine we ought to be, but to find out who we already are and become it.

Our life is not in stuff, focus your attention on Christ where it should be. Prosperity and wealth has damaged the body of Christ. God takes pleasure in the prosperity of his children but don't replace him with material.

Our students sometimes use their creativity to do wrong things, and we therefore conclude that we must keep them from being creative. But evil cannot be blamed on creativity. (p31)

Out of Box” is a metaphor that means to think differently, unconventionally, or from a new perspective.