One could not pluck a flower without troubling a star.
Loren EiseleyRead
Some degree of withdrawal serves to nurture man's creative powers. The artist and the scientist bring out of the dark void, like the mysterious universe itself, the unique, the strange, the unexpected. Numerous observers have testified upon the loneliness of the process.
Interpretation
Creative processes often require solitude, allowing artists and scientists to explore the unknown.
Loren Eiseley's quote emphasizes the importance of solitude in the creative process, suggesting that both artists and scientists find inspiration and create remarkable work from periods of withdrawal. This loneliness is depicted as a necessary condition to access the depths of human creativity, enabling individuals to produce unique and unexpected contributions that emerge from the 'dark void,' much like discoveries in the vast universe.
In practice
In a speech about artistic endeavors, one might quote Eiseley to illustrate the role of solitude in creating meaningful art.
One could not pluck a flower without troubling a star.
Choices, more choices than we like afterward to believe, are made far backward in the innocence of childhood.
After chiding the theologian for his reliance on myth and miracle, science found itself in the unenviable position of having to create mythology of its own: namely, the assumption that what, after long effort, could not be proved to take place today had, in truth, taken place in the primeval past.
Of all the unexpected qualities of an unexpected universe, the sheer organizing power of animal and plant metabolism is one of the most remarkable. . . . Where it reaches its highest development, in the human mind, we forget it completely. . . . So important does nature regard this unseen combustion . . . that a starving man's brain will be protected to the last while his body is steadily consumed.
The need is not really for more brains, the need is now for a gentler, a more tolerant people than those who won for us against the ice, the tiger and the bear. The hand that hefted the ax, out of some old blind allegiance to the past fondles the machine gun as lovingly. It is a habit man will have to break to survive, but the roots go very deep.
God knows how many things a man misses by becoming smug and assuming that matters will take their own course.
I've always tried to make movies that pull the audience out of their seats... I want audiences to be transported.
Writing a book of poetry is like dropping a rose petal down the Grand Canyon and waiting for the echo.
I made myself into a poet because it was the first thing I really loved. It was an act of will.
It's a choice - there are two different sorts of photographer: those obsessed with the technicalities and those obsessed by the subject.
In those days, a gay man was made to feel nothing but shame about his feelings and his sexuality. I wanted my drawings to counteract that, to show gay men being happy and positive about who they were. Oh, I didn't sit down to think this all out carefully. But I knew - right from the start - that my men were going to be proud and happy men!
A short story is confined to one mood, to which everything in the story pertains. Characters, setting, time, events, are all subject to the mood. And you can try more ephemeral, more fleeting things in a story - you can work more by suggestion - than in a novel. Less is resolved, more is suggested, perhaps.
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