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Read through the most famous quotes by topic #peri
I also realized that in my family drama a very limited number of character traits were available to the players. In my mind, either I could be weak, wimpy, submissive, and pathetic, or I could be a raging tyrant and bully who demanded total compliance from everyone in my realm. The notion of being strong and assertive while staying calm, insisting on appropriate boundraries and on being treated with respect and dignity, were not in my realm of experience. Once I realized that I was much happier with the person I was in the rest of my life, I realized it was foolish not to be that "me" around my family as well. I began to feel liberated and genuinely felt they could take the new me or leave it. So far, they've chosen to leave it, but I feel a sense of integrity and self-respect that I had never experienced before. ↗
Tick is a humble genesis, tock a feeble apocalypse; and tick-tock is in any case not much of a plot. We need much larger ones and much more complicated ones if we persist in finding 'what will suffice.' And what happens if the organization is much more complex than tick-tock? Suppose, for instance, that it is a thousand-page novel. Then it obviously will not lie within what is called our 'temporal horizon'; to maintain the experience of organization we shall need many more fictional devices. And although they will essentially be of the same kind as calling the second of those two related sounds tock, they will obviously be more resourceful and elaborate. They have to defeat the tendency of the interval between tick and tock to empty itself; to maintain within that interval following tick a lively expectation of tock, and a sense that however remote tock may be, all that happens happens as if tock were certainly following. All such plotting presupposes and requires that an end will bestow upon the whole duration and meaning. To put it another way, the interval must be purged of simple chronicity, of the emptiness of tock-tick., humanly uninteresting successiveness. It is required to be a significant season, kairos poised between beginning and end. It has to be, on a scale much greater than that which concerns the psychologists, an instance of what they call 'temporal integration'--our way of bundling together perception of the present, memory of the past, and expectation of the future, in a common organization. Within this organization that which was conceived of as simply successive becomes charged with past and future: what was chronos becomes kairos. This is the time of the novelist, a transformation of mere successiveness which has been likened, by writers as different as Forster and Musil, to the experience of love, the erotic consciousness which makes divinely satisfactory sense out of the commonplace person. ↗
At some very low level, we all share certain fictions about time, and they testify to the continuity of what is called human nature, however conscious some, as against others, may become of the fictive quality of these fictions. It seems to follow that we shall learn more concerning the sense-making paradigms, relative to time, from experimental psychologists than from scientists or philosophers, and more from St. Augustine than from Kant or Einstein because St. Augustine studies time as the soul's necessary self-extension before and after the critical moment upon which he reflects. We shall learn more from Piaget, from studies of such disorders as déjà vu, eidetic imagery, the Korsakoff syndrome, than from the learned investigators of time's arrow, or, on the other hand, from the mythic archetypes. Let us take a very simple example, the ticking of a clock. We ask what it says: and we agree that it says tick-tock. By this fiction we humanize it, make it talk our language. Of course, it is we who provide the fictional difference between the two sounds; tick is our word for a physical beginning, tock our word for an end. We say they differ. What enables them to be different is a special kind of middle. We can perceive a duration only when it is organized. It can be shown by experiment that subjects who listen to rhythmic structures such as tick-tock, repeated identically, 'can reproduce the intervals within the structure accurately, but they cannot grasp spontaneously the interval between the rhythmic groups,' that is, between tock and tick, even when this remains constant. The first interval is organized and limited, the second not. According to Paul Fraisse the tock-tick gap is analogous to the role of the 'ground' in spatial perception; each is characterized by a lack of form, against which the illusory organizations of shape and rhythm are perceived in the spatial or temporal object. The fact that we call the second of the two related sounds tock is evidence that we use fictions to enable the end to confer organization and form on the temporal structure. The interval between the two sounds, between tick and tock is now charged with significant duration. The clock's tick-tock I take to be a model of what we call a plot, an organization that humanizes time by giving it form; and the interval between tock and tick represents purely successive, disorganized time of the sort that we need to humanize. Later I shall be asking whether, when tick-tock seems altogether too easily fictional, we do not produce plots containing a good deal of tock-tick; such a plot is that of Ulysses. ↗
The essence of a role-playing game is that it is a group, cooperative experience. ↗
#essence #experience #game #group
Now he had chanced on one of he standard hard-on sessions of the shower, as on both sides of him and across the room three queens sported horizontal members which they turned around from time to time to conceal or display, barely exchanging looks as they resolved. The old men took no interest in this activity, knowing perhaps from long experience that it rarely meant anything or led anywhere, was a brief and helpless surrender to the forcing-house of the shower. In a few seconds the hard-on might pass from one end of the room to the other with the foolish perfection of a Busby Berkeley routine. ↗
There is no winning or losing, but rather the value is in the experience of imagining yourself as a character in whatever genre you're involved in, whether it's a fantasy game, the Wild West, secret agenst or whatever else. You get to sort of vicariously experience those things. ↗
#else #experience #fantasy #game #genre
Whatever wisdom I have has been hard-earned – each meaning carefully culled out of the dictionary of human experiences and emotions and put in its precise place in the matrix. Meaning doesn’t come easy. The Great Crossword Setter in the Sky is capricious and wilful, demanding absolute obedience. You can waste the better part of a lifetime arguing about the randomness of the clues, the setting of the squares, why a certain square is black and not white as you need it to be, question the whole point of doing the crossword – what, after all, is to be gained by solving it. Only after all the chattering is over and you give your complete attention to it, does the perfection of the pattern reveal itself. As is, where is, everything fits. And at the end, when it’s all done, there is no reward to be had – the joy of doing it right is all the reward there ever is. (A Deepavali Gift) ↗
JUST LISTEN “When your mind is quiet and you listen closely, you will hear the children weeping silently. If you can’t quite hear their cries, then listen with your eyes. These are the children of the streets, who have learned pain and suffering before they ever had a chance to experience life. Do not ignore their cries for help, for all they wish is that you will rescue them. They do not have a family that wants them, they don’t know how it feels to be loved and they’ve never lived anywhere that felt like home…the streets are where they find their voice and relief from all of the suffering. Just listen and you’ll see them. ↗
