The knowledge we need, we are predisposed to seeking, intuitively. A fool does not know, what to do with importance, how to gauge importance, but they readily seek influence. The corrupt didn't find the expanse of life giving thought, because their self is their center; the stagnant find it hard to revolve. The wise do not subscribe to the fodder that feeds the herd, because they are not predisposed to being swept along in banal minutiae.
Justin K. McFarlane Beau
If you are predisposed to be patient, disciplined and psychologically appreciate the idea of buying bargains, then you're likely to be good at it. If you have a need for action, if you want to be involved in the new and exciting technological breakthroughs of our time, that's great, but you're not a value investor, and you shouldn't be one.
I'd only seen him as the hero or the foppish best friend - so I felt predisposed to like him. On the other hand, Granger's character is not particularly attractive at all - 1950s film heroes were supposed to be strong and confident, yet here is this rather tediously weak man, who allows himself to be pushed around by women.
The writer, unlike his non-writing adult friend, has no predisposed outlook; he seldom observes deliberately. He sees what he didnot intend to see; he remembers what does not seem wholly possible. Inattentive learner in the schoolroom of life, he keeps some faculty free to veer and wander. His is the roving eye.
Sure, genetics do play a role in alcoholism. You're more likely to be an alcoholic if one or both of your parents are also alcoholics. But that's just one part of the equation; the other part is your behavior. You can't become an alcoholic if you never take a drink. So if you know you're predisposed to addiction because you have a family history, then just don't get started, and you'll never find yourself on that path.
Network selectively. Nothing says "business newbie" like shotgun networking. "You never know when someone might say yes" is marketing for dummies. Take the time to build a profile of your ideal customers, and target your networking activities to reach them. Speak to those who are already predisposed to want what you offer. Almost any profile is better than "anyone with a pulse."
I was in New York last Christmas - it's snowing; there's a guy in a t-shirt. I'm like, 'Dude, aren't you cold?' 'No, I'm from New York. I don't get cold.' Just 'cause you're from a cold place doesn't mean you're genetically predisposed to not feeling cold. You're not a penguin. I was like, 'In fact, sir, you're Puerto Rican, so if anything, you should be more cold.
All people, whether Aspie or neuro-typical are predisposed by their society to make guesses, jump to conclusions and then seek to defend those conclusions, regardless of logic or changing circumstance. This is sloppy, illogical thinking which may not hinder your life too much, under normal circumstances. But if you want to be a great detective, then such thinking will absolutely ruin your chances.
Alexei Maxim Russell
In battle, in a war, a soldier sees only a tiny fragment of what is available to be seen. The soldier is not a photographic machine. He is not a camera. He registers, so to speak, only those few items that he is predisposed to register and not a single thing more. Do you understand this? So I am saying to you that after a battle each soldier will have different stories to tell, vastly different stories, and that when a was is ended it is as if there have been a million wars, or as many wars as there were soldiers.
He hadn't wooed her, but had simply claimed her. A gold mine ready to dig. There should have been a period of quiet dinners together, of flowers rather than diamonds, of kisses given after permission to kiss, of a slow awakening that predisposed her to greater intimacies. But no, not the great Alexander Kinross! He had met her, he had married her the next day, and climbed into her bed after one kiss in the church. There to prove himself an animal in her eyes. One mistake after another, that was the story of his relationship with Elizabeth. And Ruby had always meant more.
A range of studies shows there is no evidence immigrants commit more crime than native-born Americans. In fact, first generation immigrants are predisposed to lower crime rates than native-born Americans. The two cities in this country most impacted by undocumented immigrants, you would think of the New York City with over 500,000 and Los Angeles, with a similar amount. Both those cities are among the safest in the free world.
There are hundreds of thousands of microbes surrounding us, but they cannot harm us unless we become weak, until the body is ready and predisposed to receive them. There may be a million microbes of misery floating about us. Never mind! They dare not approach us, they have no power to get a hold on us, until the mind is weakened. This is the great fact: strength is life. Weakness is death. Strength is felicity, life eternal, immortal. Weakness is constant strain and misery: weakness is death
Research on the human brain has shown it is predisposed to think in the terms of a story.36 This predisposition is continuously reinforced and strengthened throughout the life of your brain. Imaging studies have shown only a small, quarter-sized region of your brain lights up when someone tells you a series of facts. However, when someone tells you a story laced with those facts, or those facts in action, your entire brain lights up. Not only can you program your mind with a story - you can program someone else's mind.
The application of this knife, the division of the world into parts and the building of this structure, is something everybody does. All the time we are aware of millions of things around us - these changing shapes, these burning hills, the sound of the engine, the feel of the throttle, each rock and weed and fence post and piece of debris beside the road - aware of these things but not really conscious of them unless there is something unusual or unless they reflect something we are predisposed to see. We could not possibly be conscious of these things and remember all of them because our mind would be so full of useless details we would be unable to think. From all this awareness we must select, and what we select and calls consciousness is never the same as the awareness because the process of selection mutates it. We take a handful of sand from the endless landscape of awareness around us and call that handful of sand the world." -Zen and the Art of Motorcycle Maintenance
Robert M. Pirsig
I hope I have now made it clear why I thought it best, in speaking of the dissonances between fiction and reality in our own time, to concentrate on Sartre. His hesitations, retractations, inconsistencies, all proceed from his consciousness of the problems: how do novelistic differ from existential fictions? How far is it inevitable that a novel give a novel-shaped account of the world? How can one control, and how make profitable, the dissonances between that account and the account given by the mind working independently of the novel? For Sartre it was ultimately, like most or all problems, one of freedom. For Miss Murdoch it is a problem of love, the power by which we apprehend the opacity of persons to the degree that we will not limit them by forcing them into selfish patterns. Both of them are talking, when they speak of freedom and love, about the imagination. The imagination, we recall, is a form-giving power, an esemplastic power; it may require, to use Simone Weil's words, to be preceded by a 'decreative' act, but it is certainly a maker of orders and concords. We apply it to all forces which satisfy the variety of human needs that are met by apparently gratuitous forms. These forms console; if they mitigate our existential anguish it is because we weakly collaborate with them, as we collaborate with language in order to communicate. Whether or no we are predisposed towards acceptance of them, we learn them as we learn a language. On one view they are 'the heroic children whom time breeds / Against the first idea, ' but on another they destroy by falsehood the heroic anguish of our present loneliness. If they appear in shapes preposterously false we will reject them; but they change with us, and every act of reading or writing a novel is a tacit acceptance of them. If they ruin our innocence, we have to remember that the innocent eye sees nothing. If they make us guilty, they enable us, in a manner nothing else can duplicate, to submit, as we must, the show of things to the desires of the mind. I shall end by saying a little more about La Nausee, the book I chose because, although it is a novel, it reflects a philosophy it must, in so far as it possesses novel form, belie. Under one aspect it is what Philip Thody calls 'an extensive illustration' of the world's contingency and the absurdity of the human situation. Mr. Thody adds that it is the novelist's task to 'overcome contingency'; so that if the illustration were too extensive the novel would be a bad one. Sartre himself provides a more inclusive formula when he says that 'the final aim of art is to reclaim the world by revealing it as it is, but as if it had its source in human liberty.' This statement does two things. First, it links the fictions of art with those of living and choosing. Secondly, it means that the humanizing of the world's contingency cannot be achieved without a representation of that contingency. This representation must be such that it induces the proper sense of horror at the utter difference, the utter shapelessness, and the utter inhumanity of what must be humanized. And it has to occur simultaneously with the as if, the act of form, of humanization, which assuages the horror. This recognition, that form must not regress into myth, and that contingency must be formalized, makes La Nausee something of a model of the conflicts in the modern theory of the novel. How to do justice to a chaotic, viscously contingent reality, and yet redeem it? How to justify the fictive beginnings, crises, ends; the atavism of character, which we cannot prevent from growing, in Yeats's figure, like ash on a burning stick? The novel will end; a full close may be avoided, but there will be a close: a fake fullstop, an 'exhaustion of aspects, ' as Ford calls it, an ironic return to the origin, as in Finnegans Wake and Comment c'est. Perhaps the book will end by saying that it has provided the clues for another, in which contingency will be defeated, ...