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The Monday Morning Memo

Beagle_Determination_Pere-Borrell-del-Caso_1874

YOUNG ONE: “Master, does success go to the clever one, or to the lucky one?”

MERLYN: “Success is sometimes discovered by the clever one, and occasionally by the lucky one, but it is most often laid hold of by the determined one.”

YOUNG ONE: “Will you teach me to be determined?”

MERLYN: “Determination is dangerous… relentless… remorseless… and inescapable. It returns to its master with treasure between its teeth.”

YOUNG ONE: “Is Determination a dog? Shall I summon it with a whistle?”

MERLYN: “The whistle is a four-note tune that comes at a high price.”

YOUNG ONE: “Teach me the notes. I will pay.”

MERLYN: “Everyone wants to be a beast, until it’s time to do what real beasts do.”

YOUNG ONE: “Teach me the notes.”

MERLYN: “As you wish.”

This is what the old wizard taught me:

NOTE ONE: Count the cost.

MERLYN: “Consider everything that might go wrong. Is your goal worth all this distraction and discomfort and pain? If the answer is yes, then make peace with those possibilities and you will be bulletproof. No matter what happens, you will not panic. You will have already been there in your mind.”

NOTE TWO: Throw your cap over the wall.

MERLYN: “A group of boys walk a pathway next to a high stone wall that surrounds the estate of a nobleman. The older boys challenge each other to climb the wall, but none of them can do it. The youngest boy then takes off his cap and tosses it over the wall. Confused, the other boys watch as he quickly climbs the wall. Upon his return, he looks at them and says, ‘I was not going home without that cap.'”

NOTE THREE: Employ Exponential Little Bits.

MERLYN: “Ask yourself at every meal, ‘What difference have I made today?’ Do not let your head touch your pillow until you have taken an action that moves you a Little Bit closer to your goal, no matter how tiny that action might be. Exponential Little Bits are relentless activities that compound to make a miracle. When daily progress meets with progress, it doesn’t add, it multiplies.”

NOTE FOUR: Be an observer, a simple witness to what happens.

MERLYN: “You are responsible for your actions, not for the outcome. To be effective, you must be objective. Become a tool in the hand of the goal itself. Eliminate your ego. Do not seek recognition. It isn’t about you. It’s about the thing you’re doing. Are you willing to pay this price? Can you whistle the notes that summon the dog?”

YOUNG ONE: “You said the dog returns to its master with treasure between its teeth.”

MERLYN: “Yes.”

YOUNG ONE: “I see blood on that treasure.”

MERLYN: “Yes.”

YOUNG ONE: “And the blood is my own.”

MERLYN: “You are ready to whistle the notes.”

Roy H. Williams

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Random Quote:

“The… event occurred around the first serious choice I made as a photographer to concentrate on a limited subject. The subject was always light, but I wanted to explore a single form, which turned out to be the flow of water in creeks and rivers near my home. I photographed in every season, when the water was high in February and March, when it was low in August, when it was transparent in July, when it was an opaque jade in December. In 1980 I began to photograph moving water in moonlight, exposures of twenty-five or thirty minutes. These images suffered from reciprocity failure – the color balance in them collapsed – but they also recorded something extraordinary, a pattern of flow we cannot actually see. They revealed the organizing principle logicians would one day call a strange attractor.

The streaming of water around a rock is one of the most complex motions of which human beings are aware. The change from a laminar, more or less uniform flow to turbulent flow around a single rock is so abstruse a transition mathematically that even the most sophisticated Cray computer cannot make it through to a satisfactory description.

Aesthetically, of course, no such difficulty exists. The eye dotes on the shift, delights in the scintillating sheeting, the roll-off of light around a rock, like hair responding to the stroke of a brush. Sometimes I photographed the flow of water in sunshine at 1/2000 of a second and then later I’d photograph the same rock in moonlight. Putting the photos side by side, I could see something hidden beneath the dazzle of the high-speed image that compared with our renderings of the Milky Way from space: the random pin-dot infernos of our own and every other sun form a spiraling, geometrical shape motionless to our eyes. In the moonlit photographs, the stray streaks from errant water splashes were eliminated (in light that weak, they occur too quickly to be recorded); what was etched on the film instead were orderly, fundamental lines of flow, created by particle after illuminated particle of gleaming water, as if each were a tracer bullet. (Years later, reading Chaos, James Gleick’s lucid report on chaos theory, I would sit bolt upright in my chair. What I’d photographed was the deep pattern in turbulence, the clothing, as it were, of the strange attractor.)
“

- Barry Lopez, "Learning to See," chapter 13 in About This Life

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