Nothing is more harmful than a bad example set by others. They bring into our life notions which never would have occurred to us without an example.
~ Leo Tolstoy
Elsewhere, this is 4a996. — slipbox
What we miss about our own beloved Good Old Days isn’t so much the material things they remind us of—wholesome 1980s sitcoms, or musty thrift-store sweaters—it’s the particular feelings those days gave us, feelings which are now impossible to experience.
~ David Cain from, The Good Old Days Are Happening Now
Elsewhere, this is 4urate16. — slipbox
Cain rightly goes on to point out, that while we can’t feel those exact feelings again, there’s no reason we can’t—right this very instant—enjoy These Good Days. Ten years from now—presuming, of course—I can look back and think with a chuckle: Remember when I spent a couple years going really deep experimenting with knowledge systems. That was a fun exploration.
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The thing about status dynamics, though, is that they aren’t in one spot. There isn’t a whole world that is being fully and accurately perceived, except for one blank space that’s being glossed over.
~ Duncan Sabien from, The metaphor you want is “color blindness,” not “blind spot.” — LessWrong
Elsewhere, this is 4ulepo16. — slipbox
This is an interesting unpacking of some metaphors. If one has a blind spot in vision, simply shifting your gaze or moving slightly, will reveal what one is not seeing. This is a key way in which the “blind spot” metaphor is inaccurate and insufficient for systemic differences (in people, culture, society, etc.). The metaphor of red-green color blindness carries more utility because it points out that the things, or the distinctions, which one can’t see are everywhere; they are not literally in one stationary location (the problem is not simply under this X on this map), and no matter what one does—gaze shifting, moving around, thinking a great deal—those invisible thing are not going to appear.
The only way I’ve found to get through such problem is to engage with others whose literal and conceptual perspectives differ from my own. I’ll sum that up as: Discovery.
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Age. Age brings perspective in the fine clarity one gets at midnight, on the tracks, looking into the lights of an oncoming train. It dawns on you rather quickly: There’s only so much time left. Only so many star-filled nights, snowfalls… brisk fall afternoons, rainy midsummer days. So how you conduct yourself and do your work matters. How you treat your friends, your family, your lover. On good days, a blessing falls over you. It wraps its arms around you and you’re free and deeply in and of this world. That’s your reward: Being here.
~ Bruce Springsteen
Elsewhere, this is 4a950. — slipbox
We judge ourselves by what we feel capable of doing, while others judge us by what we have already done.
~ Longfellow
Elsewhere, this is 4a945. — slipbox
Everything has two handles, by one of which it may be carried, and by the other not. If your brother wrongs you, do not take it by this handle, that he is wronging you (for this is the handle that it cannot be carried by), but by the other, that he is your brother, that he was brought up with you, and then you will be taking it by the handle by which it ought to be carried.
~ Epictetus
Elsewhere, this is 4a914. — slipbox
The trick is: You bite off more than you can chew… and then you still chew it. Your mind always believes it can do less than it actually can. It will tell you it’s too much, to stop, to take a break, to cancel this or that. But your mind will lie to you to keep you small.
~ Will Smith
Elsewhere, this is 4a901. — slipbox
Life is about tradeoffs. When we know what to say no to, and we know why, we can say yes with comfort and confidence to the things that matter. To the things that last. Work, family, scene. You can have two if you say no to one. If you can’t, you’ll have none.
~ Ryan Holiday from, Work, Family, Scene: You Can Only Pick Two
Elsewhere, this is 4urywo1. — slipbox
The words “work”, “family”, and “scene” are of course maleable. I’d argue there’s a fourth—”self” or “health” would be the word I’d choose—and the admonition should be expanded to, “choose any three.” None the less, there something that feels to me very true about it being necessary, in the way the gravity is necessary to obey, about picking two of those three. There was a time when I chose work and scene. It was interesting, for a while. It wasn’t what it was cracked up to be. What’s your list, and which are you choosing?
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