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Talent is the ability to let ideas manifest themselves through you.
The Creative Act
Rick Rubin
he would purposefully connect to any lingering anxiety from the prior procedure, then release it on the exhale. In addition to this upgraded ability to let go of stress, you may also notice a subtle improvement in mood—an increased sense of connection to and engagement with colleagues, family, friends, and teammates; more comfort with emotional vulnerability; and an overall enhanced sense of calm. You may find it initially feels a bit strange to access an emotion and then let go of it so quickly. But with time and practice, this process will become easier and easier until it becomes second nature. Remember that persistent practice is the only way to build this skill. You must actually train the heart muscle to let go, just as you would train the muscles in your arm to perform a tennis serve. Through regular practice and repetition, your heart will learn to let go with greater potency and speed. It will feel softer, more open, and free.
Heart Breath Mind
Leah Lagos
When exposed to an unfamiliar skill, children will watch what is going on for a few minutes with total concentration. Wide-eyed, they simply gawk, absorbing the entire image at once without breaking it down into its separate parts. It is because children don’t segment experience that they are such superb mimics. The adult, on the other hand, tends to see movement in terms of a series of stop-action poses which he then translates into a list of instructions to himself. “Oh, I see—he edges his downhill ski, plants his pole, stops onto the uphill ski, and rides it through the turn.” Even if he were to succeed in forcing his body to comply with these Instructions, he would miss much of what a skiing turn is. A turn is more than just the sum of its parts; it includes rhythm, grace, balance, and coordination—none of which is on Self 1’s list. Skiing by the numbers usually results in moving like a robot through the turn. A child doesn’t learn linearly; he learns holistically. With a quiet and open mind, he takes in whole images: not just visual images, but “feel-ages” as well. With his concentration focused, he acquires a feel for what he is seeing. Self 2 then creates corresponding kinesthetic sensations in his body, so that he is almost duplicating the movement as he watches it. Free of self-judgments, when he begins to move he imitates what he saw. Totally involved in his actions, his senses continually feed back detailed information from the experience.
Inner Skiing
W. Timothy Gallwey
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