Watching I watch myself, what I see is my creation as though entering through my eyes perception is conception into an eye more crystal clear water of thoughts, what I watch watches me, I am the creation of what I see
Vipassana: looking into something with clarity and precision, seeing each component as distinct, piercing all the way through so as to perceive the most fundamental reality of that thing.
The only sense we still respect is eyesight, probably because it is so closely attached to the brain. Go into any American house at random, you will find something - a plastic flower, false tiles, some imitation something - something which can be appreciated as material only if apprehended by eyesight alone. Don't we go sightseeing in cars, thinking we can experience a landscape by looking at it through glass?
It's better not to see than to see wrongly.
Content is a glimpse.
Hardly any one is able to see what is before him, just as it is in itself. He comes expecting one thing, he finds another thing, he sees through the veil of his preconception, he criticizes before he has apprehended, he condemns without allowing his instinct the chance of asserting itself.
We have five senses in which we glory and which we recognize and celebrate, senses that constitute the sensible world for us. But there are other senses - secret senses, sixth senses, if you will - equally vital, but unrecognized, and unlauded ... unconscious, automatic.
He thinks he believes only what he sees, but he is much better at believing than at seeing.
Part of the reason that these attempts at explanation fail, I think, is that photographers, like all artists, choose their medium because it allows them the most fully truthful expression of their vision... as Robert Frost told a person who asked him what one of his poems meant, 'You want me to say it worse?'
One of the biggest mistakes a photographer can make is to look at the real world and cling to the vain hope that next time his film will somehow bear a closer resemblance to it...If we limit our vision to the real world, we will forever be fighting on the minus side of things, working only too make our photographs equal to what we see out there, but no better.
Photography is a system of visual editing. At bottom, it is a matter of surrounding with a frame a portion of one's cone of vision, while standing in the right place at the right time. Like chess, or writing, it is a matter of choosing from among given possibilities, but in the case of photography the number of possibilities is not finite but infinite.
The meaning of quality in photography's best pictures lies written in the language of vision. That language is learned by chance, not system.
When subject matter is forced to fit into preconceived patterns, there can be no freshness of vision. Following rules of composition can only lead to a tedious repetition of pictorial cliches.
It is the unexpected and the surprise quality of a personal vision, rather than the emotion, which make people respond to a photograph.
. . .art is a discovery of harmony, a vision of disparities reconciled, or shape beneath confusion.
...assume that art begins in unhappiness. True, the goal of art is to convey a vision of coherence and peace, but the effort to develop that vision starts in the more common experience of confusion and pain.
Even as we do all that's necessary to ensure Israel's security, even as we are clear-eyed about the difficult challenges before us, and even as we pledge to stand by Israel through whatever tough days lie ahead, I hope we do not give up on that vision of peace. For if history teaches us anything, if the story of Israel teaches us anything, it is that with courage and resolve, progress is possible. Peace is possible.
The Photograph belongs to that class of laminated objects whose two leaves cannot be separated without destroying them both: the windowpane and the landscape, and why not: Good and Evil, desire and its object: dualities we can conceive but not perceive... Whatever it grants to vision and whatever its manner, a photograph is always invisible: it is not it that we see.
You will find a common dichotomy in life. Those who don't have vision or determination, and refuse to dream the impossible, are always in the majority.
The downside of videos is that it will put my vision in front of other people, so they might not get the chance to create their own.
... you looked around and saw everybody either married or busy and happy and thinking and being creative, and you felt scared, sick, lethargic, worst of all, not wanting to cope. You saw visions of yourself in a straightjacket, and a drain on the family, murdering your mother in actuality, killing the edifice of love and respect built up over the years in the hearts of other people.
A terrible depression yesterday. Visions of my life petering out into a kind of soft-brained stupor from lack of use.
Use every letter you write Every conversation you have Every meeting you attend To express your fundamental beliefs and dreams Affirm to others the vision of the world you want
The reason for the slow progress of the world seems to lie in a single fact. Every man is born under the yoke, and grows up beneath the oppressions of his age. He can only get a vision of the unselfish forces in the world by appealing to them, and every appeal is a call to arms. If he fights he must fight, not one man, but a conspiracy. He is always at war with a civilization. On his side is proverbial philosophy, a galaxy of invisible saints and sages, and the half-developed consciousness and professions of everybody. Against him is the world, and every selfish passion in his own heart.
As an artist, i feel lucky to have been given the gift of creativity so that i may share my vision of a better world. I will never forget what it was like to be poor and that is why it is so important to me that my work be accessible to all people. For me, art can reflect the celebration of the simple and good things in life. This is the most important to me.
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