Real Quotes - Page 300

The window is the absence of the wall, and it gives air and light because it is empty. Be empty of all mental content, of all imagination and effort, and the very absence of obstacles will cause reality to rush in.

If you have inner peace, nobody can force you to be a slave to the outer reality.

I have no desire to suffer twice, in reality and then in retrospect.

I just remember seventh grade as being really difficult, because there's nothing meaner than a girl at that age. You gang up on people, and it's traumatic. It wasn't so bad for me, but there's a woman I know who's still traumatized by junior high. At that age, everything seems like a huge deal, but of course that changes when you get older.

I secretly think reality exists so we can speculate about it.

The pleasure principle long persists, however, as the method of working employed by the sexual instincts, which are so hard to 'educate', and, starting from those instincts, or in the ego itself, it often succeeds in overcoming the reality principle, to the detriment of the organism as a whole.

It is no wonder if, under the pressure of these possibilities of suffering, men are accustomed to moderate their claims to happiness - just as the pleasure principle itself, indeed, under the influence of the external world, changed into the more modest reality principle -, if a man thinks himself happy merely to have escaped unhappiness or to have survived his suffering, and if in general the task of avoiding suffering pushes that of obtaining pleasure into the background.

Naturalistic art, as we know it, is an art which imitates the appearance of things, not as they are in reality, but as they appear at one moment from the point of view of a single spectator. This is the effect of perspective. Nothing of this sort existed in prehistory.

If the image one holds of one's self contains elements that don't square with reality, one is best advised to let go of them, however difficult that may be.

The traditional doctrine of man and not the measurement of skulls and footprints is the key for the understanding of that anthropos who, despite the rebellion of Promethean man against Heaven from the period of Renaissance and its aftermath, is still the inner man of every man, the reality which no human being can deny wherever and whenever he lives, the imprint of a theomorphic nature which no historical change and transformation can erase completely from the face of that creature called man.

In the World of Reality there is no self, There is no other-than-self.

It's so surreal being here.

Many of our miseries are merely comparative: we are often made unhappy, not by the presence of any real evil, but by the absence of some fictitious good; of something which is not required by any real want of nature, which has not in itself any power of gratification, and which neither reason nor fancy would have prompted us to wish, did we not see it in the possession of others.

Watt's concern, deep as it appeared, was not after all what the figure was, in reality, but with what the figure appeared to be, in reality.

Everyone who has eyes to see can see that if the God of Abraham exists, He is an utter psychopath--and the God of Nature too. If you can't see these things just by looking, you have simply closed your eyes to the realities of our world.

I think it's a very important function of art to challenge accepted reality, especially when that reality is created by powerful interest groups.

There isn't any real good reason for fighting except self-defense.

Say Bismillah, In the name of God, as the shaykh does with a knife when he offers an animal. Bismillah your old self to find your real name. - Jalaluddin al

The Real Beloved is that one who is Unique, who is your Beginning and your End.

I have struck a city - a real city - and they call it Chicago... I urgently desire never to see it again. It is inhabited by savages.

The basis of artistic creation is not what is, but what might be; not the real, but the possible. Artists create according to the same principles as nature, but they apply them to individual entities, while nature, to use a Goethean expression, thinks nothing of individual things. She is always building and destroying, because she wants to achieve perfection, not in the individual thing, but in the whole.

The motive for criticizing myth, that is, its objectifying representations, is present in myth itself, insofar as its real intention to talk about a transcendent power to which both we and the world are subject is hampered and obscured by the objectifying character of its assertions.

Houses are the abiding joys; they are the most emotion-stirring of all things. An automobile is regarded with fond affection, a typewriter becomes the inseparable companion, clothes can stir sentimentality, and the bit of bric-a-brac is a toy one would weep to see torn away - but houses are real, deep, emotional things. How much excitement in the cutting of a window, what enormous importance in the angle of a roof!

The frame announces that between the part of reality that was cut away and this part there is a difference; and that this segment which the frame frames is an example of nature-as-representation, nature-as-sign.

Painting can feign reality without having seen it.