“How can man know himself? It is a dark, mysterious business: if a hare has seven skins, a man may skin himself seventy times seven times without being able to say, “Now that is truly you; that is no longer your outside.” It is also an agonizing,...

“How can man know himself? It is a dark, mysterious business: if a hare has seven skins, a man may skin himself seventy times seven times without being able to say, “Now that is truly you; that is no longer your outside.” It is also an agonizing, hazardous undertaking thus to dig into oneself, to climb down toughly and directly into the tunnels of one’s being. How easy it is thereby to give oneself such injuries as no doctor can heal. Moreover, why should it even be necessary given that everything bears witness to our being — our friendships and animosities, our glances and handshakes, our memories and all that we forget, our books as well as our pens. For the most important inquiry, however, there is a method. Let the young soul survey its own life with a view of the following question: “What have you truly loved thus far? What has ever uplifted your soul, what has dominated and delighted it at the same time?” Assemble these revered objects in a row before you and perhaps they will reveal a law by their nature and their order: the fundamental law of your very self. Compare these objects, see how they complement, enlarge, outdo, transfigure one another; how they form a ladder on whose steps you have been climbing up to yourself so far; for your true self does not lie buried deep within you, but rather rises immeasurably high above you, or at least above what you commonly take to be your I.”

Friedrich Nietzsche, in the essay Schopenhauer as Educator

Photo: Paul Garcia

nietzsche self knowledge

rebecca solnit on our homes : cultivating a sanctuary or an image? (brainpickings):
“Artists have a different relation to the material, since, after all, the main animosity toward the realm of substances and solid objects is that they distract from...

rebecca solnit on our homes : cultivating a sanctuary or an image? (brainpickings):

“Artists have a different relation to the material, since, after all, the main animosity toward the realm of substances and solid objects is that they distract from the life of the mind or spirit; but it’s the job of artists to find out how materials and images speak, to make the mute material world come to life, and this too undoes the divide. Words of gold, of paint, of velvet, of steel, the speaking shapes and signs that we learn to read, the intelligence of objects set free to communicate and to teach us that all things communicate, that a spoon has something to say about values, as does a shoe rack or a nice ornamental border of tulips or freesias. But just as passion can become whoredom, a home becomes real estate, so the speaking possibility of the material world can degenerate into chatter and pitches… Desire is easy. And everywhere.”

(via chardonette)

objects homes materialism rebecca solnit

cecily brown on getting artistic approval on instagram (vulture):
“When I first started, I was private. I knew my followers, so then I might post, half in jest, “Better before?” I’d say, “Should I stop?” People would be like, “No, go on.” Others...

cecily brown on getting artistic approval on instagram (vulture):

“When I first started, I was private. I knew my followers, so then I might post, half in jest, “Better before?” I’d say, “Should I stop?” People would be like, “No, go on.” Others would be like, “Stop!” It’s like when you invite your friends over and you’re not sure if something is finished, and you find out whether it is by who you actually want to listen to. I totally know what your friend means. Now I’m public, just recently, so I have lots of followers who are young artists, and they’ll be like, “Gorgeous!” Yeah, you could just sit there letting your head get bigger because some random person in Australia or Iran says that’s a beautiful painting. But in the end, you can’t take it as serious criticism. The image is teeny-tiny. Everything looks good on there. The scary thing is it often looks better. I had my German dealer come over, and she was like, “Where’s that one you posted?” I was pointing at it, and she’s like, “Oh.” But real life is real life — you see the history, where the paint didn’t dry right. Real life is warts and all. On Instagram, everything is glossy and gorgeous.”

cecily brown instagram approval

“Fame seems a very flimsy thing to die for. And where we find an idea that is both pervasive yet flimsy, it suggests that there is something deeper at work, some inescapable oddness – or error – in the way we see the world.” (aeon magazine)

fame

moral character as the key to identity in aeon:
“I inquired what kind of change would render her unrecognisable. My friend responded without hesitation: ‘If she stopped being kind. I would leave her immediately.’ He considered the question a few...

moral character as the key to identity in aeon:

“I inquired what kind of change would render her unrecognisable. My friend responded without hesitation: ‘If she stopped being kind. I would leave her immediately.’ He considered the question a few moments more. ‘And I don’t mean, if she’s in a bad mood or going through a rough time. I’m saying if she turned into a permanent bitch with no explanation. Her soul would be different. This encounter is instructive for a few reasons (not least of which is the intriguing term ‘permanent bitch’) but let’s start with my friend’s invocation of the soul…”

(via bullleaper)

self moral character

James Baldwin on race, film, children and our shadows in The Devil Finds Work (in the Atlantic)
For, I have seen the devil, by day and by night, and have seen him in you and in me: in the eyes of the cop and the sheriff and the deputy, the landlord,...

James Baldwin on race, film, children and our shadows in The Devil Finds Work (in the Atlantic)

For, I have seen the devil, by day and by night, and have seen him in you and in me: in the eyes of the cop and the sheriff and the deputy, the landlord, the housewife, the football player: in the eyes of some governors, presidents, wardens, in the eyes of some orphans, and in the eyes of my father, and in my mirror. It is that moment when no other human being is real for you, nor are you real for yourself. The devil has no need of any dogma—though he can use them all—nor does he need any historical justification, history being so largely his invention. He does not levitate beds, or fool around with little girls: we do.

The mindless and hysterical banality of evil presented in The Exorcist is the most terrifying thing about the film. The Americans should certainly know more about evil than that; if they pretend otherwise, they are lying, and any black man, and not only blacks—many, many others, including white children— can call them on this lie, he who has been treated as the devil recognizes the devil when they meet.

how do our travel choices reflect our own internal worlds? (the philosophers’ mail)
“Unfortunately, we generally don’t quite know where we need to go on our inner journey towards psychological evolution – and rush out to destinations that have been...

how do our travel choices reflect our own internal worlds? (the philosophers’ mail)

“Unfortunately, we generally don’t quite know where we need to go on our inner journey towards psychological evolution – and rush out to destinations that have been foisted on us by the travel industry or some accident of logistics. We say – somewhat casually – that we’d love to see a desert – but we’re often not clear why desert scenes ‘move’ us. Yet to be moved by an image of a destination is, in essence, to recognise a congruence between a place in the world and a destination on our inner map. There is something in the scene we see outside that our inner eye knows we need inside.

Getting ready for a journey should involve working out what the next stages on our inner journey should be – and then taking these rather unformed, destination-free needs to a travel agent in order to find places in the world that could support them. We might also sit with postcards of possible locations and ask ourselves, from a psychological point of view, the only question that matters: ‘What is there here that I might be craving inside?’”

(Source: ilaurens, via disminucion)

travel internal world psyche


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