follow your heart

Cliche, I know.

What is the cost of not following your heart?  Regret.  Sorrow.  Stress.

Of course there is a balance to everything.  But judging by what most people are, there’s no danger of being imbalanced on the things that don’t really matter to their hearts.  There’s actually a danger of not following their heart, at all.

The assumption is that following your heart will take you on a journey, and it will not be a nice neat program.  It will be a bit clumsy.  Sometimes you’ll fall back on your automatic pilot of not following your heart.  But if you start, you’ll get somewhere.

Seth Godin says most people won’t “ship” – they won’t put their creations on the market, for fear it won’t be good enough.  Steven Pressfield says most people won’t commit to their art.

I say that most people won’t start.  They won’t start to follow their hearts, in fits and starts.  Because starting is all you need, when it comes to the heart.  It doesn’t require a plan, but a plan might be your desired course of action.

It’s not even a course of action. Your heart is a not a production line.  It’s not do-or-die.  It’s life – as it was meant to be.

The heart is passion, not perfectionism, not mere business as usual.


french german

I wonder how the Swiss system can survive.  It’s fraught with French and German.  Perhaps it’s saving grace is that people can have the momentary choice between Colloquial German vs French.

Yet it’s a beautiful choice.  A beautiful diglossia.

For those of us who must choose between these major Western European languages, I’m afraid it’s all too difficult to choose German.  It sounds too formal and informal.  It’s sweetness is in its tribalness and objectivity.  It’s sweetness is in its familiarity and unfamiliarity.  But still, I am hearing its separated units.

And in French, I hear its overly entangled grammatical parts.  It flows awfully well together.  It is too idiomatic, too established, too cultural, too bound to tradition.

How to decide between these uncombinable giants?

I envy the Swiss.

Tibetan Tones

In Standard Tibetan, there are two tones: high and low.  About half of the consonants carry an inherent tone of high or low.  A number of the letters, essentially, a high-toned version and a low-toned version.   For example, Khá (ཀ) is pronounced /kʰa/ with high tone, whereas Gà (ག) is actually the same pronunciation  /kʰa/ with low tone.

However, in the usage of the language, there are four tones:  high, high-falling, low-rising, and low.[1]

high level: si˥      (5)
high falling: si˥˧    (53)
low rising: si˩˧      (13)
low level: si˩        (1)