What we want is to see the child in pursuit of knowledge, and not knowledge in pursuit of the child.
George Bernard ShawRead
What, or who, led you to take up photography, and about what date ?_x000D_ George Bernard Shaw – I always wanted to draw and paint. I had no literary ambition. I aspired to be a Michelangelo, not a Shakespeare. But I could not draw well enough to satisfy myself; and the instruction I could get was worse than useless. So when dry plates and push buttons came into the market I bought a box camera and began pushing the button. It was in 1898.
Interpretation
George Bernard Shaw reflects on his desire to create art through photography when he felt inadequate in drawing and painting.
In this quote, George Bernard Shaw shares his journey into photography, revealing that despite his aspirations to be a great artist like Michelangelo, he struggled with traditional forms of art such as drawing and painting. The arrival of photography technology provided him a new medium to express himself, showcasing how innovation can open doors for creativity in ways one might not have anticipated.
In practice
In a speech about creativity, you might quote Shaw to emphasize the importance of finding new mediums to express oneself.
What we want is to see the child in pursuit of knowledge, and not knowledge in pursuit of the child.
Marriage is good enough for the lower classes: they have facilities for desertion that are denied to us.
Forgive him, for he believes that the customs of his tribe are the laws of nature!
Those who talk most about the blessings of marriage and the constancy of its vows are the very people who declare that if the chain were broken and the prisoners left free to choose, the whole social fabric would fly asunder. You cannot have the argument both ways. If the prisoner is happy, why lock him in? If he is not, why pretend that he is?
Treat a friend as a person who may someday become your enemy; an enemy as a person who may someday become your friend.
The happiness of credulity is a cheap and dangerous quality.
I have no sense of a model or predecessor when I write a memoir: For me, the form exists as a method of processing material that retains too many connections to life to be approached strictly and aesthetically. A memoir is a risk, a one-off, a bastard child.
It's wonderful to see art in a museum, but it is institutionalised. I don't like the idea of the artwork as something that requires special conditions. I would like it to be universal.
Beauty addresses itself chiefly to sight, but there is a beauty for the hearing too, as in certain combinations so words and in all kinds of music; for melodies and cadences are beautiful; and minds that lift themselves above the realm of sense to a higher order are aware of beauty in the conduct of life, in actions, in character, in the pursuits of the intellect; and there is the beauty of the virtues.
The creative adult is the child who has survived.
To write requires an ego, a belief that what you say matters. Writing also requires an aching curiosity leading you to discover, uncover, what is gnawing at your bones.
I detest my past, and anyone else's. I detest resignation, patience, professional heroism and obligatory beautiful feelings. I also detest the decorative arts, folklore, advertising, voices making announcements, aerodynamism, boy scouts, the smell of moth balls, events of the moment, and drunken people.
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