The future is an ever-shifting maze of possibilities until it becomes the present. The future I have shown you tonight is not yet fixed. But it is more likely to become so with the passing of every day because nothing is being done to turn it aside. If you would change it, do as I have told you.
My choices matter—and there are paths towards making wiser ones—but I cannot choose what I choose. And if it ever appears that I do—for instance, after going back between two options—I do not choose to choose what I choose. There is a regress here that always ends in darkness.
Aren’t you at all curious about your past?” Rhys asked.“No, my present is who I am. Your identity is whoever you choose to be, not who your parents were.”“But as a scientist you know that prior events influence it, and the future.”“In physics, yes. In people, no.
Oh, as Dean says, nobody is free - never, except just for a few brief moments now and then, when the flash comes, or when as on my haystack night, the soul slips over into eternity for a little space. All the rest of our years we are slaves to something - traditions - conventions - ambitions - relations.
[Research] suggests that what we think of as free will is largely an illusion: much of the time, we are simply operating on automatic pilot, and the way we think and act – and how well we think and act on the spur of the moment – are a lot more susceptible to outside influences than we realize.
There is so much about my fate that I cannot control, but other things do fall under my jurisdiction. There are certain lottery tickets I can buy, thereby increasing my odds of finding contentment. I can decide how I spend my time, whom I interact with, whom share my body and life and money and energy with.
The idea of original sin--of guilt with no possibility of innocence, no freedom of choice, no alternatives--inherently militates against self-esteem. The very notion of guilt without volition or responsibility is an assault on reason as well as on morality. Sin is not original, it is originated--like virtue.
God isn't about making good things happen to you, or bad things happen to you. He's all about you making choices--exercising the gift of free will. God wants you to have good things and a good life, but He won't gift wrap them for you. You have to choose the actions that lead you to that life.
If I hadn’t spent so much time studying Earthlings," said the Tralfamadorian, "I wouldn’t have any idea what was meant by 'free will.' I've visited thirty-one inhabited planets in the universe, and I have studied reports on one hundred more. Only on Earth is there any talk of free will.
It is certainly not the least charm of a theory that it is refutable; it is precisely thereby that it attracts the more subtle minds. It seems that the hundred-times-refuted theory of the "free will" owes its persistence to this charm alone; some one is always appearing who feels himself strong enough to refute it.
So saving grace, converting grace, for Augustine, is God's giving us a sovereign joy in God that triumphs over all other joys and therefore sways the will. The will is free to move toward whatever it delights in most fully, but it is not within the power of our will to determine what that sovereign joy will be.
A person's looking for a simple truth to live by, there it is. CHOICE. To refuse to passively accept what we've been handed by nature or society, but to choose for ourselves. CHOICE. That's the difference between emptiness and substance, between a life actually lived and a wimpy shadow cast on an office wall.
No one can tell you for certain if we have free will or we don't. [...] Whatever you choose to believe, you will probably want to agree with the philosopher John Locke, who argued that the whole debate is largely irrelevant. If it feels to us like free will, then let's treat it as free will and get on with our lives.
According to most philosophers, God in making the world enslaved it. According to Christianity, in making it, He set it free. God had written, not so much a poem, but rather a play; a play he had planned as perfect, but which had necessarily been left to human actors and stage-managers, who had since made a great mess of it.
الإرادة سِرٌ من قوة الفعل والعمل فكيف لو ينمى لها أجنحة .
