Now, to use the famous metaphor by Alfred Korzybski in his Science and Sanity (1933), this verbal world ought to stand in relation to the extensional world as a map does to the territory it is supposed to represent. If a child grows to adulthood with a verbal world in his head which corresponds fairly closely to the extensional world that he finds around him in his widening experience, he is in relatively small danger of being shocked or hurt by what he finds, because his verbal world has told him what, more or less, to expect. He is prepared for life. If, however, he grows up with a false map in his head [...] he will constantly be running into trouble, wasting his efforts, and acting like a fool. He will not be adjusted to the world as it is: he may, if the lack of adjustment is serious, end up in a mental hospital. (editor's link)
S. I. HayakawaRelated topics
adjustment child danger end expect experience false fool head hurt lack less link metaphor now ought running science small stand tell trouble use wasting widening AlfredRelated quotes
Don't forget that God sees you and watches you when you are in pain; He perceives even the beating of your heart. Consequently, He will not leave you without consolation and His fatherly protection. Naturally, the saints rejoiced in their afflictions; as for us, let us at least manage to accept affliction or pain patiently.
My child, pray within your heart, and the name of Jesus will become for you a comforting balm so that you can bear this trial of yours in a way which benefits you. You will greatly benefit from this trial if you submit yourself to it patiently. So again I say to you, with the almighty armor of prayer continually approach the omnipotent Lord more often, and you will come to know how He wondrously lifts the burden of pain and marvellously gives rest to sufferers.
Ephraim of Arizona
Edwin Fischer was, on the concert platform, a short, leonine, resilient figure, whose every fiber seemed to vibrate with elemental musical power. Wildness and gentleness were never far from each other in his piano-playing, and demonic outbursts would magically give way to inner peace. It was as little trouble to him (as Alfred Polgar once said of an actor) to lose himself as to find himself.
His playing of slow movements was full of an unselfconsciousness beside which the music-making of others, famous names included, seemed academic or insincere. With Fischer, one was in more immediate contact with the music: there was no curtain before the soul when he communicated with the audience. One other musician, Furtwangler, conveyed to the same degree this sensation of music not being played, but rather happening by itself.
Alfred Brendel
...next to the winning of the war the most vital matter was the building of peace on firm foundations. ... The young generation of Germans had been deliberately perverted and trained in savagery. With German thoroughness the very malleable youth of Germany had been moulded into the shape of their leaders. It would be a long time before they could be civilized. It was madness to expect that suddenly S. S. men and Hitler Youth would turn into good, peaceful citizens and democrats. The German and Japanese nations had for years been directed to false aims and ideals. A great moral and mental revolution would be required before they would be fit to be trusted. Both these nations must be disarmed and deprived of the power to start new wars, and there must be an organization to ensure peace and with power to enforce it.
Clement Attlee
Critics of visual arts and of music describe in words - that is to say, a system of signs other than those made by brushes on canvas or chisels into stone or notes of music - those characteristics of painting or sculpture or music which can be described or analysed. Visual artists and composers can disregard critics on the ground that the medium of verbal criticism bears so indirect a relation to the medium in which they make something. Poets are in a different situation. With the development of so-called scientific methods of criticism they are made ever conscious that criticism of poetry is in the same medium of work as the art which they practise. "Close analysis” is useful to critics and readers. But for the poet there is the danger of disintegration of poetry into paraphrase, examination of technique, influences, all analysed in the language of criticism.
Stephen Spender
What I would like to know is what I should be doing."
"I see what you mean," Freeling said, "but I'm afraid I can't tell you. If you were a lathe operator I'd say make that part, but you're a part of management, and you can't treat managerial people that way."
"Go ahead," Forlesen told him. "I won't mind."
[...] "What I meant was that if I knew what you ought to be doing I'd hire a clerk to do it. You're where you are because we feel-rightly or wrongly-that you can find your own work, recognize it when you see it, and do it or get somebody else to. Just make damn sure you don't step on anybody's toes while you're doing it, and don't make more trouble than you fix. [...] Don't come running to me with complaints, and don't let me get any complaints about you. Now what was it you wanted to see me about?"
"I don't," Forlesen said. "You said you wanted to see me.
Gene Wolfe