Science and art having the same creative wellspring, which I believe can be expressed aphoristically: the ideal scientist thinks like a poet and works like a bookkeeper.
Be a good human being, be kind, always help others if you can. Do stuff if you happen to be blessed with insight that others may not possess at this moment in time. Your own success is not what you have accomplished yourself but how others benefit from what your transition to those who take your place.
Atoms or elementary particles themselves are not real; they form a world of potentialities or possibilities, rather than one of things or facts.
Your limits are liars. Your fears are thieves.
I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means. What I want and what I fear.
Self-esteem is that which gives us a feeling of well-being, a feeling that everything’s going to be all right – that we can determine our own course and that we can travel that course. It’s not that we travel the course alone, but we need the feeling of agency – that if everything were to fall apart, we could find a way to put things back together again.
Self-esteem cannot really be built from the outside. You begin to see the real evidence that you can, in fact, affect the things around you. These experiences ultimately integrate themselves inside — if that foundation is there. Self-esteem does not come from surrounding yourself with people and things that seem to increase your value. Real self-esteem is an integration of an inner value with things in the world around you.
In a fear-based, failure-averse culture, people will consciously or unconsciously avoid risk. They will seek instead to repeat something safe that’s been good enough in the past. Their work will be derivative, not innovative. But if you can foster a positive understanding of failure, the opposite will happen.
I was 28 when my first batch of demos got noticed by a publisher in Los Angeles. Prior to that I put all my focus on listening to records religiously and studying them, and writing songs and throwing them away until I felt like I had reached a point where I’d begun to write songs that could stand on their own. I didn’t play out ever, really. Never played on the street. I spent my time in the “woodshed” working on the craft of writing. Performing came later. I learned that the hard way, on the road.