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Q-Księgozbiór 3000


( Greene, Robert )

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Strona Treść cytatu Słowa kluczowe / uwagi
2 The process can be illustrated in the following manner: Let us say we are learning the piano, or entering a new job where we must acquire certain skills. In the beginning, we are outsiders. Our initial impressions of the piano or the work environment are based on prejudgments, and often contain an element of fear. When we first study the piano, the keyboard looks rather intimidating—we don’t understand the relationships between the keys, the chords, the pedals, and everything else that goes into creating music. In a new job situation, we are ignorant of the power relationships between people, the psychology of our boss, the rules and procedures that are considered critical for success. We are confused—the knowledge we need in both cases is over our heads. Although we might enter these situations with excitement about what we can learn or do with our new skills, we quickly realize how much hard work there is ahead of us. The great danger is that we give in to feelings of boredom, impatience, fear, and confusion. We stop observing and learning. The process comes to a halt. If, on the other hand, we manage these emotions and allow time to take its course, something remarkable begins to take shape. As we continue to observe and follow the lead of others, we gain clarity, learning the rules and seeing how things work and fit together. If we keep practicing, we gain fluency; basic skills are mastered, allowing us to take on newer and more exciting challenges. We begin to see connections that were invisible to us before. We slowly gain confidence in our ability to solve problems or overcome weaknesses through sheer persistence. At a certain point, we move from student to practitioner. We try out our own ideas, gaining valuable feedback in the process. We use our expanding knowledge in ways that are increasingly creative. Instead of just learning how others do things, we bring our own style and individuality into play. As years go by and we remain faithful to this process, yet another leap takes place—to mastery. The keyboard is no longer something outside of us; it is internalized and becomes part of our nervous system, our fingertips. In our career, we now have a feel for the group dynamic, the current state of business. We can apply this feel to social situations, seeing deeper into other people and anticipating their reactions. We can make decisions that are rapid and highly creative. Ideas come to us. We have learned the rules so well that we can now be the ones to break or rewrite them. trening

4 Ta wiara w magiczny skrót przetrwała w nas do dziś w postaci poszukiwania prostej recepty na sukces. Ahamkara

Fizyka Człowieka

! - dobry cytat


7 Animals are locked in perpetual present. They can learn from recent events, but they are easily distracted by what is in front of their eyes. Slowly, over a great period of time, our ancestors overcome this basic animal weakness. By looking long enough at any object and refusing to be distracted - even for a few seconds - they could momentarily detach themselves from their immediate surroundings. In this way they could notice patterns, make generalizations and think ahead. They had the mental distance to think and reflect, even on the smallest way.

These early humans evolved the ability to detach and think as their primary advantage in the struggle to avoid predators and find food. If connected them to the reality other animals could not access. Thinking on this level was the single greatest turning point in all evolution - the emergence of the conscious, reasoning mind.

Rozum / Emocje

7 They could notice patterns, make generalizations, and think ahead.

Pozwałało im to na dostrzeganie wzorców, dokonywanie uogólnień i myślenie z wyprzedzeniem.


8 This power of mind could be unleashed only after years of experience. Having mastered a particular skill – tracking prey, fashioning a tool – it was now automatic, and so while practising the skill the mind no longer had to focus on the specific actions involved but instead could concentrate on something higher – what the prey might be thinking, how the tool could be felt as a part of the hand. This thinking inside would be a preverbal version of third-level intelligence – the primitive equivalent of Leonardo da Vinci's intuitive feel for anatomy and landscape or Michael Faraday's for electromagnetism. Do tej umiejętności postrzegania rzeczy dochodzi się o latach doświadczeń. Doskonaląc daną czynność np. pogoń za ofiarą lub doskonalenie narzędzia dochodzi się do automatyzmu. Od pewnego momentu umysł nie koncentruje się już na tym jak konkretnie ma ją wykonać, lecz na czymś więcej – na tym na przykład o czym może myśleć goniona przeze mnie ofiara lub jak dane narzędzie będzie “wyczuwane przez rękę”. To wczuwanie się we “wewnętrze” czynności lub obiektu jest bliżej nieokreśloną inteligencją trzeciego stopnia. Tym co do mistrzostwa doprowadził Leonardo da Vinci w postrzeganiu anatomii i postrzeganiu krajobrazu, a Michael Faraday w wyczuciu elektromagnetyzmu. intuicja

9 To the extent that we believe we can skip steps, avoid the process, magically gain power through political connections or easy formulas, or depend on our natural talents, we move against this grain and reverse our natural powers. We become slaves to time—as it passes, we grow weaker, less capable, trapped in some dead-end career. We become captive to the opinions and fears of others. Rather than the mind connecting us to reality, we become disconnected and locked in a narrow chamber of thought. The human that depended on focused attention for its survival now becomes the distracted scanning animal, unable to think in depth, yet unable to depend on instincts. Hipoteza S-nastu


11 The basic elements of this story are repeated in the lives of all of the great Masters in history: a youthful passion or predilection, a chance encounter that allows them to discover how to apply it, an apprenticeship in which they come alive with energy and focus. They excel by their ability to practice harder and move faster through the process, all of this stemming from the intensity of their desire to learn and from the deep connection they feel to their field of study. And at the core of this intensity of effort is in fact a quality that is genetic and inborn—not talent or brilliance, which is something that must be developed, but rather a deep and powerful inclination toward a particular subject. motywanta

12 Our levels of desire, patience, persistence and confidence end up playing a much larger role in success than sheer reasoning powers. Feeling motivated and energized, we can overcome almost everything. Feeling boared and restless, our minds shut off and we become increasingly passive. motywacja

12 It is an emotional quality that separates those who master a field from the many who simply work at a job. Magis

13 A natural response when people feel feel overwhelmed is to retreat into various forms of passivity. natłok komunikatów

14 The world is teeming with problems, many of them of our own creation. Ahamkara


14 You may grow frustrated and depressed, never realising that the source of it is your alienation from your own creative potential. Ahamkara

16 Anything that is alive is in continual state of change and movement. obiekt żywy

22 He took the sheets on his walk into the forest, and sitting upon a rock he began to sketch the various sights around him. He kept returning day after day to do more of the same; even when the weather was bad, he would sit under some kind of shelter and sketch. He had no teachers, no paintings to look at; he did everything by eye, with nature as the model. He noticed that in drawing things he had to observe them much more closely and catch the details that made them come to life. […] Verrocchio instructed his apprentices in all of the sciences that were necessary to produce the work of his studio—engineering, mechanics, chemistry, and metallurgy. Leonardo was eager to learn all of these skills, but soon he discovered in himself something else: he could not simply do an assignment; he needed to make it something of his own, to invent rather than imitate the Master. samouk

23 [Leonardo da Vinci — przyp. JF] miał możliwość zglębiania każdego rzemiosła i każdej nauki, które go interesowały: — architektury, fortyfikacji, hydrauliki, anatomii, rzeźby. multidyscyplinarność


24 It was the search and process in creating something that had always excited him. Magis


Kiedy wychodzimy z młodzieńczego etapu zależności, nie jesteśmy tak naprawdę gotowi na przejście do etapu całkowitej niezależności. Nosimy bowiem w sobie nawyk uczenia się z książek i od nauczycieli, który w dużej mierze nie nadaje się do praktycznej fazy samokształcenia lub życia, które nadejdzie później. Zwykle jesteśmy nieco naiwni społecznie i nieprzygotowani do politycznych gier, w które grają ludzie. Wciąż niepewni co do naszej tożsamości, uważamy, że w świecie pracy liczy się zdobywanie uwagi i nawiązywanie przyjaźni. A te błędne przekonania i naiwność zostają brutalnie ujawnione w świetle realnego świata.

When we emerge from the youthful state of dependency, we are not really ready to handle transition to an entirely independent phase. We carry with us the habit of learning from books or teachers, which is largely unsuited for the practical, self-directed phase or life that comes next. We tend to be somewhat socially naive and unprepared for the political games people play. Still uncertain as to our identity, we think that what matters in the work world is gaining attention and making friends. And this misconceptions and naivety are brutally exposed in the light of the real world.

Fizyka Człowieka

CŻC - cykl życiowy człowieka

!! - super cytat



105 Almost all masters and people of power suffer from too many demands on their time and too much information to absorb. Fizyka Firmy


119 But in actual bouts, the moment he exchanged blows with his opponent, he would suddenly throw out all the technique he had learned and fight on pure emotions. Gra - elementy charakterystyczne

Typowe dla gier. Podczas napięcia w kąt idzie wyuczona technika i zaczynamy grać wbudowanymi w nas schematami.
139 When looking for cues to observe, you should be sensitive to any kind of extreme behaviour on their part - for instance, a blustery front, an overly friendly manner, a constant penchant for jokes. You will often notice that they wear this like a mask to hide the opposite, to distract others from the truth. They are blustery because they are inwardly very insecure; they are overly friendly because they are secretly ambitious and aggressive; or they joke to hide a mean-spiritedness. In general, you are reading and decoding every possible sign - including the clothes they wear and the organized or disorganized nature of their workspace. rozpoznanie swój/obcy

177 The human mind is naturally creative, constantly looking to make associations and connections between things and ideas. It wants to explore, to discover new aspects of the world, and to invent. To express this creative force is our greatest desire and the stifling of it the source of our misery. What kills the creative force is not age or a lack of talent, but our own spirit, our own attitude. We become too comfortable with the knowledge we have gained in our apprenticeship. We grow afraid of entertaining new ideas and and the effort that this required. To think more flexibly entails a risk - we could fail and be ridiculed. We prefer to live with the familiar ideas and habits of thinking, but we pay a steep price for this: our minds go dead from the lack of challenge and novelty; we reach a limit in our field and lose control over our fate because we become replaceable. Ludzki umysł z natury rzeczy jest kreatywny, kojarzy poszukując związków pomiędzy rzeczami i ideami. Sam z siebie chce odkrywać i poznawać nowe aspekty swego otoczenia oraz wymyślać nowości. Podtrzymywanie tej umiejętności umysłu jest naszym pragnieniem, a tłumienie, niestety, jest źródłem frustracji i nieszczęść. To co zabija naszą kreatywność to wcale nie wiek czy brak talentu, lecz my sami. Zaczyna nam być dobrze z wiedzą, której nabyliśmy w fazie nauczania (czyt. w szkole) i uważamy, że zupełnie nam ona wystarcza. Dojrzewamy podchodząc bez entuzjazmu do nowych pomysłów, wiedząc z jakim wysiłkiem się one wiążą. Myślenie elastyczne wymaga podejmowania ryzyka, a to wiąże się w większości albo z porażką albo wysłuchiwaniem "a nie mówiłem, że się nie uda…". Wolimy żyć według znanych nam schematów i przyzwyczajeń myślowych, lecz w konsekwencji płacimy za to: nasza zdolność radzenia sobie zamiera w wyniku braku wyzwań i nowości; osiągamy pułap naszych możliwości w danej dziedzinie po czym staczamy się z niego. CŻC - cykl życiowy człowieka

Fizyka Człowieka


180 If you are doing something primarily for the money and without a real emotional commitment, it will translate into something that lacks a soul and that has no connection to you. You may not see this, but you can be sure that the public will feel it and that they will receive your work in the same lackluster spirit it was created in. If you are excited and obsessive in the hunt, it will show in the details. If your work comes from a place deep within, its authenticity will be communicated. This applies equally to science and businesses as to the arts. Jeśli robisz coś dla pieniędzy lub bez emocjonalnego zaangażowania to tworzysz coś nie związanego z tobą, coś co nie ma "duszy". Sam tego nie dostrzegasz, ale bądź pewien, że inni wyczują w takim produkcie ową beznamiętność w jakiej on powstawał. Jeśli praca cię kręci i zależy ci na doskonałym produkcie – ujawnia się to w… detalach. Jeśli poświęcasz się - produkt będzie o tym głośno mówił. Tyczy to się wszystkiego: i nauki i businessu i sztuki. Magis

Fizyka Firmy

181 You cannot find anything new if you are unwilling to leave the shore ! - dobry cytat


182 To accomplish this he wrote, wd must be capable of negating our ego. We are by nature fearful and unsecure creatures. We do not like what is unfamiliar or unknown. To compensate for this, we assert ourselves with the options and ideas that make us seem strong and certain. Many of these options do not come from our own deep reflection, but are instead basex on what other people think. Furthermore, once ee hold these ideas, to admit they are wrong is to wound our ego and vanity. Truly creative people in all fields can temporarily suspend their ego and simply experience what they are seeing, without the need to assert a judgement, for as long as possible. They are more than ready to find their most cherished opinions contradicted by reality . This ability to endure and even embrace mysteries and uncertainties is what Keats called negative capability. All Masters possess this Negative Capability, and it is the source of their creative power. Ahamkara


189 Sometimes this fear of speculation masquerades as skepticism. We see this people who delight in shooting down any theory or explanation before it gets anywhere. They are trying to pass off skepticism as a sign of high intelligence, but in fact they are taking the easy route - it is quite simple to find arguments against any idea and knock it down from the sidelines. Ahamkara

189 It is better to stick to facts and studies, to keep a micro view, rather than possibly embarrassing themselves with a speculation that could be wrong. Ahamkara

192 Our minds are always hurrying to generalize about things, often based on the most minimal amounts of information. We form opinions quickly, in conformity with our previous opinions, and we do not pay grat attention to the details. Ahamkara


193 In general, try approaching a problem or idea with a much mord open mind. Let your study of the details guide your thinking and shape your theories. Think of everything in nature, or in the world, as a kind of hologram - the smallest part reflecting something essential about the whole. Immersing yourself in details will combat the generalizing tendencies of the brain and bring you closer to reality. Make sure, however, that you do not become lost in the details and lose sight of how they reflect the whole and fit into z larger idea. That is simply the other side of the same disease. czynniki przeciwstawne