There was a lot about Kim and J.P. he didn't get.... he was confused by their lack of romance. As a father, he was at times grateful for that missing intensity, but as a man who liked to surprise his wife with flowers, it baffled him. Maybe he was old-fashioned, but to him a couple meant a strong bond, with positive and negative charges constantly arcing between them. He'd never seen Kim and J.P. kiss, let alone argue.
Are we, intellectual sirs, not actively or passively 'producing' more and more words, more books, more articles, ceaselessly refilling the pot-boiler of speech, gorging ourselves on it rather, seizing books and 'experiences', to metamorphose them as quickly as possible into other words, plugging us in here, being plugged in there, just like Mina on her blue squared oilcloth, extending the market and the trade in words of course, but also multiplying the chances of jouissance, scraping up intensities wherever possible, and never being sufficiently dead, for we too are required to go from forty to the hundred a day, and we will never play the whore enough, we will never be dead enough
When an artist is asked to speak about form, you expect something different than when a critic talks about it. Because you think that somewhere between sentences and words, the secret will slip out. I am trying to give you that secret; it isn't a secret at all, but it is building solidly, not using secrets. I had been trying to extend into metaphysical extension; that film is changing, metamorphic; that is, infinite; the idea that the movement of life is totally important rather than a single life. My films were built on an incline, an increase in intensity. I hoped to make a form which was infinite, the changingness of things. I thought I would want to find a total form which conveyed that sense, particularly in reference to an Oriental subject. My impression was: one is walking down a corridor of a hotel. One hears a sound, opens a door and a man is playing; one listens for three minutes and closes the door. The music went on before you opened the door and it continues after you close the door. There was neither beginning nor end. Western music increases in intensity to a climax and then resolves itself. Oriental music is infinite; it goes on and on. The Chinese theater goes on for hours and hours with time for lunch moving scenery, etc.
Every mental process, or every mental action, that takes place in our wide-awake consciousness will, if it has depth of feeling or intensity, enter the unconscious field, and after it has developed itself according to the line of its original nature, will return to the conscious side of the mind.
A disruption of the circadian cycle—the metabolic and glandular rhythms that are central to our workaday life—seems to be involved in many, if not most, cases of depression; this is why brutal insomnia so often occurs and is most likely why each day’s pattern of distress exhibits fairly predictable alternating periods of intensity and relief.
Stolen moments” create a feeling of enjoyment in our “intensive time” awareness. The glow and the intensity of those instants can guide us throughout a whole lifetime. They can expose a second or a third dimension of the daily events and shed an expounding light on all the little details we encounter. ("Stolen moments" )
Lonely people have enthusiasms which cannot always be explained. When something strikes them as funny, the intensity and length of their laughter mirrors the depth of their loneliness, and they are capable of laughing like hyenas. When something touches their emotions, it runs through them like Paul Revere, awakening feelings that gather into great armies.
I think that the event which, more than anything else, led me to the search for ways of making more powerful radio telescopes, was the recognition, in 1952, that the intense source in the constellation of Cygnus was a distant galaxy—1000 million light years away. This discovery showed that some galaxies were capable of producing radio emission about a million times more intense than that from our own Galaxy or the Andromeda nebula, and the mechanisms responsible were quite unknown. ... [T]he possibilities were so exciting even in 1952 that my colleagues and I set about the task of designing instruments capable of extending the observations to weaker and weaker sources, and of exploring their internal structure.
Time and time again when I talk to individuals about approaching love with will and intentionality, I hear the fear expressed that this will bring an end to romance. This is simply not so. Approaching romantic love from foundation of care, knowledge, and respect actually intensifies romance.
Jobs's intensity was also evident in his ability to focus. He would set priorities, aim his laser attention on them, and filter out distractions. If something engaged him- the user interface for the original Macintosh, the design of the iPod and iPhone, getting music companies into the iTunes Store-he was relentless. But if he did not want to deal with something - a legal annoyance, a business issue, his cancer diagnosis, a family tug- he would resolutely ignore it. That focus allowed him to say no. He got Apple back on track by cutting all except a few core products. He made devices simpler by eliminating buttons, software simpler by eliminating features, and interfaces simpler by eliminating options. He attributed his ability to focus and his love of simplicity to his Zen training. It honed his appreciation for intuition, showed him how to filter out anything that was distracting or unnecessary, and nurtured in him an aesthetic based on minimalism.
Everyone and everything needed to be raised to its highest level – the teacher must become a mage, the husband a knight errant, the labor a hero in a sacred drama – intensified, rarefied, baptized in the turbulent waters of restlessness, curiosity, and ardor.
One of the problems with climate change, global warming and global air pollution is that it may change the frequency and intensity of electrical storm activity. Too much lightning activity may cause excessive mating, aggression, fatigue, illness and disease to occur. Too little may turn off the animal and plant breeding cycles.
He built up a situation that was far enough from the truth. It never occurred to him that Helen was to blame. He forgot the intensity of their talk, the charm that had been lent him by sincerity, the magic of Oniton under darkness and of the whispering river. Helen loved the absolute. Leonard had been ruined absolutely, and had appeared to her as a man apart, isolated from the world. A real man, who cared for adventure and beauty, who desired to live decently and pay his way, who could have travelled more gloriously through life than the Juggernaut car that was crushing him.
This gesture is one of the motifs of modernity's turn against the principle of imitating nature, that is to say, imitating predefined morphological expectations. It is still capable of perceiving message-totalities and autonomous thing-signals when no morphologically intact figures are left - indeed, precisely then. The sense for perfection withdraws from the forms of nature - probably because nature itself is in the process of losing its ontological authority. The popularization of photography also increasingly devalues the standard views of things. As the first edition of the visible, nature comes into discredit. It can no longer assert its authority as the sender of binding messages - for reasons that ultimately come from its disenchantment through being scientifically explored and technically outdone. After this shift, 'being perfect' takes on an altered meaning: it means having something to say that is more meaningful than the chatter of conventional totalities. Now the torsos and their ilk have their turn: the hour of those forms that do not remind us of anything has come. Fragments, cripples and hybrids formulate something that cannot be conveyed by the common whole forms and happy integrities; intensity beats standard perfection.
Intensity-seeking is an enslavement of our own perpetuation. When we step out of the delirium of always seeking someone new, and meet the same old sad and lonely child within, our healing journey begins. Exhausting ourselves with novelty is a defense against our deepest pain, one that we cannot outrun. But once we stop and feel our losses, we can begin our healing journey and be the authentic, joyous person we were born to be.
The unified field theory that ties together Jobs personality and products begins with his most salient trait: his intensity. His silences could be as searing as his rants; he had taught himself to stare without blinking. Sometimes this intensity was charming, in a geeky way, such as when he was explaining the profundity of Bob Dylan's music or why whatever product he was unveiling at that moment was the most amazing thing that Apple had ever made. At other times it could be terrifying, such as when he was fulminating about Google or Microsoft ripping of Apple.
The thing that struck me was his intensity. Whatever he was interested in he would generally carry to an irrational extreme." Jobs had honed his trick of using stares and silences to master other people. " One of his numbers was to stare at the person he was talking to. He would stare into their fucking eyeballs, ask some question, and would want a response without the other person averting their eyes.
Something, most certainly, happens to a diver’s emotions underwater. It is not merely a side effect of the pleasing, vaguely erotic sensation of water pressure on the body. Nor is it alone the peculiar sense of weightlessness, which permits a diver to hang motionless in open water, observing sea life large as whales around him; not the ability of a diver, descending in that condition, to slowly tumble and rotate in all three spatial planes. It is not the exhilaration from disorientation that comes when one’s point of view starts to lose its “lefts” and “down” and gains instead something else, a unique perception that grows out of the ease of movement in three dimensions. It is not from the diminishment of gravity to a force little more emphatic than a suggestion. It is not solely exposure to an unfamiliar intensity of life. It is not a state of rapture with the bottomless blue world beneath one’s feet…it is some complicated mix of these emotions, together with the constant proximity of real terror.
My mouth opened.It happened.Yes, with my head thrown into the sky, I started howling.Arms stretched out next to me, I howled, and everything came out of me. Visions pored up my throat and past voices surrounded me. The sky listened. The city didn't. I didn't care. All I cared about was that I was howling so that I could hear my voice and so I would remember that the boy had intensity and something to offer. I howled, oh, so loud and desperate, telling a world that I was here and I wouldn't lie down.
In the spring of her twenty-second year, Sumire fell in love for the first time in her life. An intense love, a veritable tornado sweeping across the plains—flattening everything in its path, tossing things up in the air, ripping them to shreds, crushing them to bits. The tornado’s intensity doesn’t abate for a second as it blasts across the ocean, laying waste to Angkor Wat, incinerating an Indian jungle, tigers and everything, transforming itself into a Persian desert sandstorm, burying an exotic fortress city under a sea of sand. In short, a love of truly monumental proportions. The person she fell in love with happened to be 17 years older than Sumire. And was married. And, I should add, was a woman. This is where it all began, and where it all ended. Almost.