Quotes About Imagination

The human imagination... has great difficulty in living strictly within the confines of a materialist practice or philosophy. It dreams, like a dog in its basket, of hares in the open.

The human imagination ... has great difficulty in living strictly within the confines of a materialistic practice or philosophy. It dreams, like a dog in its basket, of hares in the open.

The first step towards building an alternative world has to be a refusal of the world-picture implanted in our minds.

When we read a story, we inhabit it. The covers of the book are like a roof and four walls. What is to happen next will take place within the four walls of the story. And this is possible because the story's voice makes everything its own.

The impulse to paint comes neither from observation nor from the soul (which is probably blind) but from an encounter: the encounter between painter and model: even if the model is a mountain or a shelf of empty medicine bottles.

When he painted a road, the roadmakers were there in his imagination, when he painted the turned earth of a ploughed field, the gesture of the blade turning the earth was included in his own act. Whenever he looked he saw the labour of existence; and this labour, recognised as such, was what constituted reality for him. (On Vincent Van Gogh)

A drawing of a tree shows not a tree but a tree being looked at

All its dimensions with their projected geometries are those of an unrealisible dream.

Photographs do not translate from appearances. They quote from them.

Those who first invented and then named the constellations were storytellers. What it changed was the way people read the night sky.

the more imaginative the work, the more profoundly it allows us to share the artist's experience of the visible.

Just after the Second World War Picasso bought a house in the South of France and paid for it with one still-life. Picasso has now in fact transcended the need for money. Whatever he wishes to own, he can acquire by drawing it. The truth has become a little like the fable of Midas.

In the imaginative movement which prompts the impulse to draw repeats implicitly the same pattern...there is a symbiotic desire to get closer and closer, to enter the self of what is being drawn, and, simultaneously, there is the foreknowledge of immanent distance. Such drawings aspire to be both a secret rendezvous and a au-revoir! Alternately and at infinitum.

Those who read or listen to our stories see everything as through a lens. This lens is the secret of narration, and it is ground anew in every story, ground between the temporal and the timeless. If we storytellers are Death's Secretaries, we are so because, in our brief mortal lives, we are grinders of these lenses.

The Photographer's way of seeing is reflected in his choice of subject. The painter's way of seeing is reconstituted by the marks he makes on canvas or paper. Yet, although every image embodies a way of seeing, our perception or appreciation of an image depends also upon our own way of seeing.

In this respect images are more precise and richer than literature. To say this is not to deny the expressive or imaginative quality of art, treating it as mere documentary evidence; the more imaginative the work, the more profoundly it allows us to share the artist 's experience of the visible.

When we read a story, we inhabit it. The covers of the book are like a roof and four walls. What is to happen next will take place within the four walls of the story. And this is possible because the story's voice makes everything its own.

leave wizard Henry: at his lectern where he's working on his phantasies: Disperse! and everything goes worse so the world fills with her knees, harmful & fair: a medium where 'Fuck you' comes as no curse but come as a sigh or a prayer.

[M]ovie-making is the process of turning money into light. All they have at the end of the day is images flickering on a wall.

Really tapping into our inner vision and inner child might not make us happier or better adjusted, but it might make us appreciate just how smart we really are.

If at first the idea is not absurd, then there is no hope for it," Albert Einstein

expectation of an event creates a much deeper impression … than the event itself."—de la Vega.)

Putain mais quelle fichue imagination je peux avoir ...

The eyes were of a color which he could never decide on, afterwards when he told the story he used to say they were the color of everything in Spring.