Quotes of All Topics . Occasions . Authors
What I sought in books was imagination. It was depth, depth of thought and feeling; some sort of extreme of subject matter; some nearness to death; some call to courage. I myself was getting wild; I wanted wildness, originality, genius, rapture, hope. ... What I sought in books was a world whose surfaces, whose people and events and days lived, actually matched the exaltation of the interior life. There you could live.
Of course the thoughts and awareness are there, but it's all incomplete and often fanciful - kids know there's something to know, and they fill in a bunch of the blanks with their imaginations if their parents haven't had the conversations and/or established themselves as sources of information. It's rare that the kids know nothing at all, and the somethings they do know are often only partially right or flat-out wrong.
At school any spontaneous act was likely to get me into trouble. I learned never to act on impulse, and that whatever came into my mind first should be rejected in favour of better ideas. I learned that my imagination Wasn’t ‘good’ enough. I learned that the first idea was unsatisfactory because it was (1) psychotic; (2) obscene; (3) unoriginal. The truth is that the best ideas are often psychotic, obscene and unoriginal.
I try to be as faithful as possible to the facts as I understand them, but any story is at least partly a product of the imagination. I can comprehend a lot by immersing myself in all of the information I've collected, but my imagination is what brings it to life, and the bridging of that gap - between the received history and the conceived fiction - is both the most difficult and most enjoyable part of the process for me.
We don't experience things collectively or cathartically anymore. Viewing has become an intensely private, fetishistic, compulsive process that happens separately from others, and that reflects not only our relation to cinema as a space of possibility, belief, and imagination. But more generally, of what could be, of readiness, which is what the movies have historically been about - the ability to act on things and change.
Fantasy is a product of thought, Imagination of sensibility. If the thinking, discursive mind turns to speculation, the result isFantasy; if, however, the sensitive, intuitive mind turns to speculation, the result is Imagination. Fantasy may be visionary, but it is cold and logical. Imagination is sensuous and instinctive. Both have form, but the form of Fantasy is analogous to Exposition, that of Imagination to Narrative.
To call someone anti-American, indeed, to be anti-American, (or for that matter anti-Indian, or anti-Timbuktuan) is not just racist, it's a failure of the imagination. An inability to see the world in terms other than those that the establishment has set out for you: If you're not a Bushie, you're a Taliban. If you don't love us, you hate us. If you're not Good, you're Evil. If you're not with us, you're with the terrorists.
One reaches through to the continents and oceans of the imagination, worlds able to sustain anyone who will but play, and then lets the play deepen and deepen until it is a reality that few would even dare to entertain...The human imagination is the holographic organ of the human body, and we don't 'imagine' anything. We simply see things so far away that there is no possibility of validating or invalidating their existence.
There is nothing which so generally strikes the imagination, and engages the affections of mankind, as the right of property; or that sole and despotic dominion which one man claims and exercises over the external things of the world, in total exclusion of the right of any other individual in the universe. And yet there are very few, that will give themselves the trouble to consider the original and foundation of this right.
I had to really do some studying and examination of my own songwriting and I realized that, there's not a formula by any stretch of the imagination and aren't any rules, but there are principles. The first one is that art is a process, not a product. In fact, that holds true for damn near everything we do in life. The product is just something that happens. If you're faithful to the process, the product takes care of itself.
I think architecture could be understood as the construction of realities, or the construction of worlds. One of the reasons why architects are often attracted to philosophers, partially, has to do with making sense of the world around us as well as the making of worlds, and in our case, the realities we create can be as real as concrete. These kinds of ideas, of wild imagination, go into the question of how you make a world.
A minute analysis of life at once destroys that splendor which dazzles the imagination. Whatsoever grandeur can display, or luxury enjoy, is procured by offices of which the mind shrinks from the contemplation. All the delicacies of the table may be traced back to the shambles and the dunghill; all magnificence of building was hewn from the quarry, and all the pomp of ornament dug from among the damps and darkness of the mine.
If you want to find out anything from the theoretical physicists about the methods they use, I advise you to stick closely to one principle: don't listen to their words, fix your attention on their deeds. To him who is a discoverer in this field the products of his imagination appear so necessary and natural that he regards them, and would like to have them regarded by others, not as creations of thought but as given realities.
For one who is indifferent, life itself is a prison. Any sense of community is external or, even worse, nonexistent. Thus, indifference means solitude. Those who are indifferent do not see others. They feel nothing for others and are unconcerned with what might happen to them. They are surrounded by a great emptiness. Filled by it, in fact. They are devoid of all hope as well as imagination. In other words, devoid of any future.
In the tradition of Julian of Norwich and St. Teresa of Avila and all the other mystics, we can learn to render ourselves vulnerable to the "favors of God" - those indescribable experiences that mock our dualisms and so saturate our imagination with abundance that they transcend our ability to convey joy and wonder. In the tradition of St. John of the Cross, we can learn to survive and derive benefits from the soul's dark night.
If your first Christmas tree is a wilting eucalyptus and if you're normally troubled by heat and sand... then, to have just at the age when imagination is opening out, suddenly find yourself in a quiet Warwickshire village, I think it engenders a particular love of what you might call central Midlands English countryside. Based on good water, stones and elm trees and small quiet rivers and so on, and of course, rustic people about.
I am not out to liberate anybody. You have to liberate yourself, and you are unable to do that. What I have to say will not do it. I am only interested in describing this state, in clearing away the occultation and mystification in which those people in the 'holy business' have shrouded the whole thing. Maybe I can convince you not to waste a lot of time and energy, looking for a state which does not exist except in your imagination.
Holly is living proof that C.S. Lewis was right when he said that a good atheist can't be too careful of her reading. A lover of the word, she discovered through it the love of the Logos, whose beauty fills all of creation. She found the courage to follow the spilled drops of human imagination back to the One who ‘reflects the glory of God and bears the very stamp of his nature, upholding the universe by his word of power' (Heb 1:3).
Suspense is like a woman. The more left to the imagination, the more the excitement. ... The conventional big-bosomed blonde is not mysterious. And what could be more obvious than the old black velvet and pearls type? The perfect ‘woman of mystery’ is one who is blonde, subtle and Nordic. ... Although I do not profess to be an authority on women, I fear that the perfect title [for a movie], like the perfect woman is difficult to find.
I am ever Thine. If Thou cast me out, who shall take me in? If Thou disregard me, who shall look on me? More canst Thou remit, than I commit; more canst Thou spare, than I offend. Let not hurtful pleasures overcome me; at the least let not any perverse habit overwhelm me; From evil and unlawful desires; From vain, hurtful, impure imaginations; from the illusions of evil spirits; from pollutions of soul and of body; Good Lord, deliver me.
Values cannot be speedily forgotten if it is inconvenient or commercially expedient. Values have to have meaning and longevity; otherwise they are valueless. You cannot embrace innovation up to a point or only sometimes. Branding demands commitment; commitment to continual re-invention; striking cords with people to stir their emotions; and commitment to imagination. It is easy to be cynical about such things, much harder to be successful.
Your imagination is the single most important asset you possess. Your imagination is your power to create mental pictures of things that don't exist yet and that you want to bring into being. Your imagination is what you use to shape your future. And so in your own way, you are a prophet. You generate countless predictions every day. Your imagination is the source,tirelessly churning out mental pictures of what you'll be doing in the future.
He that condemns himself to compose on a stated day will often bring to his task attention dissipated, a memory embarrassed, an imagination overwhelmed, a mind distracted with anxieties, a body languishing with disease: he will labour on a barren topic till it is too late to change it; or, in the ardour of invention, diffuse his thoughts into wild exuberance, which the pressing hour of publication cannot suffer judgment to examine or reduce.
When preparing for a role, a month is a luxury. Sometimes you've maybe got two weeks before you start on something. So you have to learn how to do it quickly. And the longer you have a role, that it lives in your imagination, the more you're going to be able to contribute when you get on set. Because it's really about your subconscious having time to sit with the part, so you're out doing something and then something occurs to you, you know?
Your body, which is very physical, is under the influence of your thoughts, your feelings, your emotions, your dreams, your fantasies, your desires, your instincts, your drives, your imagination. All these things orchestrate themselves - all these internal activities that are in the invisible domain that we call consciousness actually have very precise physical effects both in our biology, but they also influence our perception of the world.
Alas, poor Yorick! I knew him, Horatio: a fellow of infinite jest, of most excellent fancy: he hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! my gorge rims at it. Here hung those lips that I have kissed I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on a roar? Not one now, to mock your own grinning? quite chap-fallen?
[T]hese last few days where I've moped around damn near depressed for real, because of people who do not exist. Not really. I can buy them Christmas presents, but there is no way to send them. Sometimes I feel like I should be able to walk into the next room and there they will be, but they won't. These people do not exisit as flesh and blood, but there are different kinds of reality, and there are days when imagination feels very, very real.
Do you realize that people don't know how to read Kafka simply because they want to decipher him? Instead of letting themselves be carried away by his unequaled imagination, they look for allegories - and come up with nothing but clichés: life is absurd (or it is not absurd), God is beyond reach (or within reach), etc. You can understand nothing about art, particularly modern art, if you do not understand that imagination is a value in itself.
So that it must be only by the imagination that Satan has access to the soul, to tempt and delude it, or suggest anything to it. And this seems to be the reason why persons that are under the disease of melancholy are commonly so visibly and remarkably subject to the suggestions and temptations of Satan... Innumerable are the ways by which the mind may be led on to all kind of evil thoughts, by the exciting of external ideas in the imagination.
The planet has a kind of intelligence, it can actually open a channel of communication with an individual human being. The message that nature sends is, transform your language through a synergy between electronic culture and the psychedelic imagination, a synergy between dance and idea, a synergy between understanding and intuition, and dissolve the boundaries that your culture has sanctioned between you, to become part of this Gaian supermind
It is from this absolute indifference and tranquillity of the mind, that mathematical speculations derive some of the most considerable advantages; because there is nothing to interest the imagination; because the judgment sits free and unbiased to examine the point. All proportions, every arrangement of quantity, is alike to the understanding, because the same truths result to it from all; from greater from lesser, from equality and inequality.
Your will is the ego part of you that believes you're separate from others, separate from what you'd like to accomplish or have, and separate from God. It also believes that you are your acquisitions, achievements, and accolades. This ego will wants you to constantly acquire evidence of your importance... On the other hand, your imagination is the concept of Spirit within you. ...with imagination, we have the power to be anything we desire to be.
I've often tried to describe how memory works. I've suggested this to students, and told them to close their eyes and try to remember what I look like. Then I ask them if they remember what I look like. But when you open your eyes you will be surprised how different what you thought I looked like is to what I actually look like. Because the imagination is a different raw material from actual vision. Memory is very different from the thing itself.
The notion of Victoria should be a ladies' paradise. If men like Victoria's Secret, that's kind of a bonus, but in my imagination they should feel uncomfortable when they're in the store, if there's no mahogany paneling, there's nothing that's welcoming. This is a ladies' paradise. And that thinking goes into the design of the store, the fitting rooms, the fabric, the display. It's all from the lady's point of view. It has nothing to do with men.
Some imaginations help to break the bondage of the rest. The whole universe is imagination, but one set of imaginations will cure another set. Those that tell us that there is sin and sorrow and death in the world are terrible. But the other set - thou art holy, there is God, there is no pain - these are good, and help to break the bondage of the others. The highest imagination that can break all the links of the chain is that of the Personal God.
I am not even six feet tall. Yet I am praying to the Absolute Supreme to reach His infinite Height, which is far beyond even my imagination's flight. For me to long to grow into that Height - is this not a miracle? I am mortal. My thoughts, my deeds, my experiences - everything that I have and everything that I am - represent mortality. Yet despite everything that I have and everything that I am, I am longing for Immortality. Is this not a miracle?
Use the imagination to picture only what is good, what is beautiful, what is beneficial, what is ideal, and what you wish to realize. Mentally see yourself receiving what you deeply desire to receive. What you imagine, you will think, and what you think, you will become. Therefore, if you imagine only those things that are in harmony with what you wish to obtain or achieve, all your thinking will soon tend to produce what you want to attain or achieve.
How can a novelist achieve atonement when, with her absolute power of deciding outcomes, she is also God? There is no one, no entity or higher form that she can appeal to, or be reconciled with, or that can forgive her. There is nothing outside her. In her imagination she has set the limits and the terms. No atonement for God, or novelists, even if they are atheists. It was always an impossible task, and that was precisely the point. The attempt was all.
What I tend to do is to wake about five in the morning-this happens quite often-think about the invention, and then image it in my mind in 3D, as a kind of construct. Then I do experiments with the image...sort of rotate it, and say, 'Well what'll happen if one does this?' And by the time I get up for breakfast I can usually go to the bench and make a string and sealing wax model that works straight off, because I've done most of the experiments already.
Would I if I could by pushing a button would I kill five thousand Chinamen if I could save my brother from anything. Well I was very fond of my brother and I could completely imagine his suffering and I replied that five thousand Chinamen was something I could not imagine and so it was not interesting. One has to remember that about imagination, that is when the world gets dull when everybody does not know what they can or what they cannot really imagine.
What happened to your face?" Harriet asked. "It was a misunderstanding," Daniel said smoothly, wondering how long it might take for his bruises to heal. He did not think he was particularly vain, but the questions were growing tiresome. "A misunderstanding?" Elizabeth echoed. "With an anvil?" "Oh, stop," Harriet admonished her. "I think he looks very dashing." "As if he dashed into an anvil." "Pay no attention," Harriet said to him. "She lacks imagination.
Life is infinite energy coupled with limitless creative imagination. It is the invisible essence and substance of every visible form. Its nature is goodness, truth, wisdom and beauty, as well as energy and imagination. Our highest satisfaction comes from a sense of conscious union with this invisible Life. All human endeavor is an attempt to get back to first principles, to find such an inward wholeness that all sense of fear, doubt and uncertainty vanishes.
In the early 21st century, it is easy to condemn the Bond books for being racist and imperialist, sexist and misogynist, elitist and sadistic. But this is merely another way of saying that we cannot understand the Bond books without reference to the personality, the outlook and the 'Tory imagination' of the man who wrote them, and to the time in which he wrote them; and that we cannot understand the 1950s and 1960s without some reference to them, and to him.
The marriage tie becomes possessed of a history and takes to itself traditions. This history and these traditions form a great fund, to which changing conditions and growing imagination constantly add. And the traditions, more especially, bear heavily upon the individual, overmastering his natural expression of the love instinct and forcing him to an artificial expression of that love instinct. He loves, not as his savage forbears loved, but as his group loves.
Contrary to what I once thought, scientific progress did not consist simply in observing, in accurately formulating experimental facts and drawing up a theory from them. It began with the invention of a possible world, or a fragment thereof, which was then compared by experimentation with the real world. And it was this constant dialogue between imagination and experiment that allowed one to form an increasingly fine-grained conception of what is called reality.
When I was living in Mexico, I started reassessing my drawing style, and plunged into a period of doing exercises and research to develop a new way to draw. The result was a style that implies more than it shows, and so, ironically, feels more "true" to the scene I want to draw than a style that is more specific. It seems to me that the reader's imagination is able to fill in the gaps more effectively than I ever could. Plus it's a lot faster and more fun to do.
Because half a dozen grasshoppers under a fern make the field ring with their importunate chink, whilst thousands of great cattle, reposed beneath the shadow of the British oak, chew the cud and are silent, pray, to not imagine that those who make the noise are the only inhabitants of the field; that, of course, they are many in number; or that, after all, they are other than the little, shriveled, meagre, hopping, though loud and troublesome insects of the hour.
The catastrophe story, whoever may tell it, represents a constructive and positive act by the imagination rather than a negative one, an attempt to confront the terrifying void of a patently meaningless universe by challenging it at its own game. [. . .] Each one of these fantasies represents an arraignment of the finite, an attempt to dismantle the formal structure of time and space which the universe wraps around us at the moment we first achieve consciousness.
Through intense deep meditation you reach a state that is beyond thought, beyond change, beyond imagination, beyond differences and duality. Once you can stay in that state for a while and come out of it without losing any of it, then the inner divine love will begin to pour through you. You will not see people as different, separate individuals. You will see your own Self in everyone around you. Then the flow of love from within you will be constant and unbroken.
He that compares what he has done with what he has left undone, will feel the effect which must always follow the comparison of imagination with reality; he will look with contempt on his own unimportance, and wonder to what purpose he came into the world; he will repine that he shall leave behind him no evidence of his having been, that he has added nothing to the system of life, but has glided from youth to age among the crowd, without any effort for distinction.