Quotes of All Topics . Occasions . Authors
Any closer would unravel her mystery, the very thing which made her so truly beautiful...It was her mystery that he adored. He was in love with everything that he did not know about her... No real sexual encounter could ever match the secret one that he could nurture in his imagination... No living flesh could ever be the erotic equal of flesh kept private, untouchable and unknowable
I want to try to apply my abilities sometimes to make families happy, so I have to make movies at a venue that are not gratuitously violent, that are not using bullets and bloodshed, but are using things like magic and fantasy and enchantment and the imagination. To me that's just all positive stuff. But I am eclectic and I still like to make movies for the midnight audience as well.
It is a juvenile notion that a society needs a lofty purpose and a shining vision to achieve much. Both in the market place and on the battlefield men who set their hearts on toys have often displayed unequal initiative and drive. And one must be ignorant of the creative process to look for a close correspondence between motive and achievement in the world of thought and imagination.
...compartmentalization of occupations and interests bring about a separation of that mode of activity commonly called 'practice' from insight; of imagination from executive 'doing.' Each of these activities is then assigned its own place in which it must abide. Those who write the anatomy of experience then suppose that these divisions inhere in the very constitution of human nature.
I'm pretty good at fleshing out characters. I like to crawl inside their minds and imaginations and sort of loll about. Sticking to a clean narrative arc gives me some troubles. I've been told that I'm digressive and I'd have to agree. The odd anecdote that in no way relates to the "big idea" is just as illuminating and fascinating to me as anything else pertaining to the through-line.
What we need to wake people up to now is the crisis in imagination and concern for the greater good. We have no idea what the next ten years, much less the next fifty years, will demand of the coming generation. What we do know is that unless we have a people prepared and eager to meet those crises creatively and compassionately, there is not much hope for this poor old planet of ours.
We're not in the physical world. The physical world is in us. We create the physical world when we perceive it, when we observe it. And also we create this experience in our imagination. And when I say "we," I don't mean the physical body or the brain, but a deeper domain of consciousness which conceives, governs, constructs and actually becomes everything that we call physical reality.
Maybe there is a single spot, just one, where living organisms are holed up. Maybe so, but if so this would be the strangest thing of all, absolutely incomprehensible. For we are not familiar with this kind of living. We do not have solitary, isolated creatures. It is beyond our imagination to conceive of a single form of life that exists alone and independent, unattached to other forms.
Not write what you know, but know what you write. If you write about a world before, after, or other than this one, enter that world completely. Search it to find your deepest longings and most terrible fears. Let imagination carry you as far as it may, as long as you recount the voyage with excitement and wonder. But this is the most important rule: write the book you most long to read.
Worship demands the far distances of God; it protests against the little, the near, the material. It must love but it must look up. It cannot live without the note of spirituality and universality, if not mystery. The ascension, the passing of Christ within the veil, answers this need. So does a full-robed Christianity add to definiteness of knowledge the outreach of imagination and home.
The greatest crisis of our lives is neither economic, intellectual, nor even what we usually call religious. It is a crisis of imagination. We get stuck on our paths because we are unable to reimagine our lives differently from what they are right now. We hold on desperately to the status quo, afraid that if we let go, we will be swept away by the torrential undercurrents of our emptiness.
People read a lot of stories about witches, fairies, paranormals, and children possessed by evil spirits. They go to films showing rituals featuring pentagrams, swords, and invocations. That's fine, people need to give free reign to their imagination and to go through certain stages. Anyone who gets through those stages without being deceived will eventually get in touch with the Tradition.
When you do your research write down whatever interests you. Whatever stimulates your imagination. Whatever seems important. A story is built like a stone wall. Not all the stones will fit. Some will have to be discarded. Some broken and reshaped. When you finish the wall it may not look exactly like the wall you envisioned, but it will keep the livestock in and the predators out. (pg. 144)
There are mythologies that are scattered, broken up, all around us. We stand on what I call a terminal moraine of shattered mythic systems that once structured society. They can be detected all around us. You can select any of these fragments that activate your imagination for your own use. Let it help shape your own relationship to the unconscious system out of which these symbols have come.
This world and life of ours are filled with inequalities. The worst possible use to make of this fact, however, is to allow resentments to possess us. All of us have imagined limitations, but we have also the privilege of pushing them aside, and spreading our lives out! We never know any of our limitations until we put ourselves to the test. There are always "growing pains" working within us.
When you will, make a resolution, set your jaw, you are expressing an imaginative fear that you won't do the thing. If you knew you would do the thing, you would smile happily and set about it. And this fear (since the imagination is always creative) comes about presently and you slide down into the complete slump of several weeks or years - the very thing you dreaded and set your jaw against.
I acknowledge Mike Leigh and Ken Loach. They are prostlytizers of English socialism preaching to the converted and telling us what we already know. Cinema is best served away from documentary neo-realism. I come from a tradition of post-post-Italian neo-realism in England, where we've produced the best television in the world. But to paraphrase Truffaut, the English have no visual imagination.
War happens to people, one by one. That is really all I have to say and it seems to me I have been saying it forever. Unless they are immediate victims, the majority of mankind behaves as if war was an act of God which could not be prevented; or they behave as if war elsewhere was none of their business. It would be a bitter cosmic joke if we destroy ourselves due to atrophy of the imagination.
One has but to observe a community of beavers at work in a stream to understand the loss in his sagacity, balance, co-operation, competence, and purpose which Man has suffered since he rose up on his hind legs. He began to chatter and he developed Reason, Thought, and Imagination, qualities which would get the smartest group of rabbits or orioles in the world into inextricable trouble overnight.
For any kind of reading I think better than leaving a blank still a blank, because the mind must receive a degree of enlargement and obtain a little strength by a slight exertion of its thinking powers; besides, even the productions that are only addressed to the imagination, raise the reader a little above the gross gratification of appetites, to which the mind has not given a shade of delicacy.
He leaned up a little and watched her face. Her face would now be, forever, more mysterious and impenetrable than the face of any stranger. Strangers' faces hold no secrets because the imagination does not invest them with any. But the face of a lover is an unknown precisely because it is invested with so much of oneself. It is a mystery, containing, like all mysteries, the possibility of torment.
However intense my experience, I am conscious of the presence and criticism of a part of me, which, as it were, is not a part of me, but a spectator, sharing no experience, but taking note of it, and that is no more I than it is you. When the lay, it may be the tragedy, of life is over, the spectator goes his way. It was a kind of fiction, a work of the imagination only, so far as he was concerned.
In physics, one of the most exciting areas is in nanotech. With computers exhausting the power of silicon, Silicon Valley could become a Rust Belt, unless we can find replacements, such as quantum computers and molecular computers. To be a leader in any field, one has to have a great imagination. Sure, we have to know the basics and fundamentals. But beyond that, we have to let our imagination soar.
A theologian should be thoroughly in possession of the basis and source of faith--that is to say, the Holy Scriptures. Armed with this knowledge it was that I confounded and silenced all my adversaries; for they seek not to fathom and understand the Scriptures; they run them over negligently and drowsily; they speak, they write, they teach, according to the suggestion of their heedless imaginations.
I was a voracious reader and the library fed my curiosity, imagination and my soul. I read by the shelf - biographies, fantasy - all and everything fed my dreams. Then as an adult whenever I would go on location the first thing we would do as a family is sign up at the closest library. Not only would we find books, but what was happening in that town, because the library is the head of the community.
Literature and the other arts play with pattern - our brains understand our world by recognizing patterns - and with possibility. The arts harness our sharpest senses, sight and sound, and our richest ways of understanding, in language and narrative. They were our first schools before schools were ever invented. They develop our imaginations, extend our possibilities, and deepen what we can all share.
Many will tell you with mockery and ridicule that the abolition of war can only be a dream . . . But we must go on or we will all go under. And the great criticism that can be made is that the world lacks a plan that will enable us to go on . . . We must have sufficient imagination and courage to translate the universal wish for peace - which is rapidly becoming a universal necessity - into actuality.
All the unimaginative assholes in the world who imagine that Shakespeare couldn't have written Shakespeare because it was impossible from what we know about Shakespeare of Stratford that such a man would have had the experience to imagine such things - well, this denies the very thing that separates Shakespeare from almost every other writer in the world: an imagination that is untouchable and nonstop.
The mathematic, then, is an art. As such it has its styles and style periods. It is not, as the layman and the philosopher (who is in this matter a layman too) imagine, substantially unalterable, but subject like every art to unnoticed changes form epoch to epoch. The development of the great arts ought never to be treated without an (assuredly not unprofitable) side-glance at contemporary mathematics.
Reality became for me a problem after my experience with LSD. Before, I had believed there was only one reality, the reality of everyday life. Just one true reality and the rest was imagination and was not real. But under the influence of LSD, I entered into realities which were as real and even more real than the one of everyday. And I thought about the nature of reality and I got some deeper insights.
Imagination, where it is truly creative, is a faculty, and not a quality; it looks before and after, it gives the form that makes all the parts work together harmoniously toward a given end, its seat is in the higher reason, and it is efficient only as a servant of the will. Imagination, as it is too often misunderstood, is mere fantasy, the image-making power, common to all who have the gift of dreams.
He who perceives in the spiritual world must know that at times Imaginations are assigned to him which at first he must forego understanding; he must receive them as Imaginations and let them ripen in his soul as such. In spiritual experience, much depends on a man having the patience to make observations, at first to simply accept them, and to wait with understanding them until the right moment arrives.
In literary representation, the distinction between the genuinely erotic and the licentious is a distinction not of subject-matter, but of perspective. The genuinely erotic work is one which invites the reader to re-create in imagination the first-person point of view of someone party to an erotic encounter. The pornographic work retains as a rule the third-person perspective of the voyeuristic observer.
I limbered up just a little before entering the stadium, and even so I felt a twinge in my thigh, no doubt the fruit of my imagination. And I went back to the massage room so that my faithful Morizot could take the trouble off my muscles. This soothed me considerably and I thought I was back to a normal state until somebody summoned me to the starting line. It was like feeling a blade go through my flesh.
We have a duty towards music; namely to invent it. ...Invention presupposes imagination but should not be confused with it. For the act of invention implies the necessity of a lucky find and of achieving realization of this find. What we imagine does not necessarily take on concrete form and may remain in a state of virtuality; whereas invention is not conceivable apart from its actually being worked out.
No cause more frequently produces bashfulness than too high an opinion of our own importance. He that imagines an assembly filled with his merit, panting with expectation, and hushed with attention, easily terrifies himself with the dread of disappointing them, and strains his imagination in pursuit of something that may vindicate the veracity of fame, and show that his reputation was not gained by chance.
As to...old composers like Schubert or Beethoven, I imagine that, while modern music expresses both feeling, thought and imagination, they expressed pure feeling. And you know all day sitting at work, eating, walking, etc., you have hundreds of feelings that can't be put into words. And that is why I think that in a sense music is the highest of the arts, because it really begins where the others leave off.
All you have is the writer's imagination. You have a very limited time to take this imaginary person and bring the details of their life, as you perceive them, to life. You attempt to do to that as fully and as vibrantly as you can. It's depressing to read how much you've failed. And it's not even particularly instructive or necessary to read how you succeeded because in the end don't you have to judge that?
When you draw in a tight, controlled style, you open yourself up to - in my case, my own - criticism that things aren't quite right. If room is drawn so carefully, when a detail is wrong or missing, it's wrong or missing. The reader's imagination doesn't add the detail in because there are already so many other details. The reader is restricted to seeing the elements that are right there in front of him/her.
The Wikks are regular kids given a Galactic size challenge. Readers will follow Oliver, Tiffany, and twins, Mason and Austin as they trek through eerie catacombs, mysterious ruins, and creepy castles that defy imagination. One part Indiana Jones, a handful of Swiss Family Robinson, and some Intergalactic excitement, the Quest for Truth is a riveting tale of just how far mankind will go for the ultimate prize.
Musing takes place in a kind of meadowlands of the imagination, a part of the imagination that has not yet been plowed, developed, or put to any immediately practical use…time spent there is not work time, yet without that time the mind becomes sterile, dull, domesticated. The fight for free space — for wilderness and public space — must be accompanied by a fight for free time to spend wandering in that space.
Do people ever climb the demon towers? Like, for any reason?" Aline looked up. "Climb the demon towers?" She laughed. "No, no one ever does that. It's totally illegal, for one thing, and besides, why would you want to?" Aline, Isabelle thought, did not have much imagination. She herself could think of lots of reasons why someone might want to climb the demon towers, if only to spit gum down on passerbys below.
The violence inherent in our systems and structures of power is a part of who we are - our thoughts, sensibilities, imaginations, language. We live in manifestations of it - permanent war, environmental destrucution, poverty, racism, misogyny, the assault on labor, torture in our prisons, capital punishment - a corporate capitalist state controlled by oligarchical interests for their own private profit and gain.
The dynamic principle of fantasy is play, a characteristic also of the child, and as such it appears inconsistent with the principle of serious work. But without this playing with fantasy no creative work has ever yet come to birth. The debt we owe to the play of imagination is incalculable. It is therefore short-sighted to treat fantasy, on account of its risky or unacceptable nature, as a thing of little worth.
When common objects in this way be come charged with the suggestion of horror, they stimulate the imagination far more than things of unusual appearance; and these bushes, crowding huddled about us, assumed for me in the darkness a bizarre grotesquerie of appearance that lent to them somehow the aspect of purposeful and living creatures. Their very ordinariness, I felt, masked what was malignant and hostile to us.
Giese was an unemotional man, but then in the study of Solaris emotion is a hindrance to the explorer. Imagination and premature theorizing are positive disadvantages in approaching a planet where-as has become clear-anything is possible... The fact is that in spite of his cautious nature the scrupulous Giese more than once jumped to premature conclusions. Even when on their guard, human beings inevitably theorize.
When our life is a continuous trial, the moments of respite seem only to substitute the heaviness of dread for the heaviness of actual suffering; the curtain of cloud seems parted an instant only that we may measure all its horror as it hangs low, black, and imminent, in contrast with the transient brightness; the waterdrops that visit the parched lips in the desert bear with them only the keen imagination of thirst.
More investment trusts securities were offered in September of 1929 even than in August - the total was above $600 million. However, the nearly simultaneous promotion of Shenandoah and Blue Ridge was to stand as the pinnacle of new era finance. It is difficult not to marvel at the imagination which was implicit in this gargantuan insanity. If there must be madness something may be said for having it on a heroic scale.
No wonder if such persons look upon imputed righteousness as the shadow of a dream, who esteem those things which evidence its necessity to be but fond imaginations. And small hope is there to bring such men to value the righteousness of Christ, as imputed to them, who are so unacquainted with their own unrighteousness inherent in them. Until men know themselves better, they will care very little to know Christ at all.
Well, there's a great Marlon Brando quote that to do something well you have to spiritually marry your director. You have to be making the same movie they are in that you have to try to help their imagination be better, and more full, and more fully realized, but you can't have a different imagination because then you end up - and you see this a lot in movies - where it feels like they were making five different films.