Clergyman's

Over 70k "Quotes"

“If you care about being thought credible and intelligent, do not use complex language where simpler language will do. My Princeton colleague Danny Oppenheimer refuted a myth prevalent among undergraduates about the vocabulary that professors find most impressive. In an article titled “Consequences of Erudite Vernacular Utilized Irrespective of Necessity: Problems with Using Long Words Needlessly,” he showed that couching familiar ideas in pretentious language is taken as a sign of poor intelligence and low credibility.”
— Daniel Kahneman

“The analysis of the psychological motivations behind certain doctrines or ideas can never be a substitute for a rational judgment of the validity of the doctrine and of the values which it implies, although such analysis may lead to a better understanding of the real meaning of a doctrine and thereby influence one’s value judgment.What the psychological analysis of doctrines can show is the subjective motivations which make a person aware of certain problems and make him seek for answers in certain directions. Any kind of thought, true or false, if it is more than a superficial conformance with conventional ideas, is motivated by the subjective needs and interests of the person who is thinking. It happens that some interests are furthered by finding the truth, others by destroying it. But in both cases the psychological motivations are important incentives for arriving at certain conclusions. We can go even further and say that ideas which are not rooted in powerful needs of the personality will have little influence on the actions and on the whole life of the person concerned.”
— Erich Fromm

“The secondhand experience is always better. The image is crisper, the view is keener, the camera angle and the soundtrack manipulate my emotions in a way reality can’t anymore. I don’t know that we are actually human at this point, those of us who are like most of us, who grew up with TV and movies and now the Internet. If we are betrayed, we know the words to say; when a loved one dies, we know the words to say. If we want to play the stud or the smart-ass or the fool, we know the words to say. We are all working from the same dog-eared script.”
— Gillian Flynn

“But it’s tempting to be Cool Girl. For someone like me, who likes to win, it’s tempting to want to be the girl every guy wants. When I met Nick, I knew immediately that was what he wanted, and for him, I guess I was willing to try. I will accept my portion of blame. The thing is, I was crazy about him at first. I found him perversely exotic, a good ole Missouri boy. He was so damn nice to be around. He teased things out in me that I didn’t know existed: a lightness, a humor, an ease. It was as if he hollowed me out and filled me with feathers. He helped me be Cool Girl – I couldn’t have been Cool Girl with anyone else. I wouldn’t have wanted to. I can’t say I didn’t enjoy some of it: I ate a MoonPie, I walked barefoot, I stopped worrying. I watched dumb movies and ate chemically laced foods. I didn’t think past the first step of anything, that was the key. I drank a Coke and didn’t worry about how to recycle the can or about the acid puddling in my belly, acid so powerful it could strip clean a penny. We went to a dumb movie and I didn’t worry about the offensive sexism or the lack of minorities in meaningful roles. I didn’t even worry whether the movie made sense. I didn’t worry about anything that came next. Nothing had consequence, I was living in the moment, and I could feel myself getting shallower and dumber. But also happy.”
— Gillian Flynn

“Clever deceivers rarely tell outright falsehoods. It’s too risky. The art of deception is closely related to the magician’s craft: it involves knowing how to draw attention to a harmless place, to deflect it away from the action. Deeply entrenched patterns of perceptual, emotional, and cognitive dispositions serve as instruments of deception. A skilled deceiver is an illusionist who knows how to manipulate the normal patterns of what is salient to their audience. He places salient markers—something red, something anomalous, something desirable—in the visual field, to draw attention just where he wants it.”
— Clancy Martin