No dream is ever just a dream.
It's very important to transcend places that hold us.
Dreams don't deal in time. Time doesn't count.
The key to a great story is not who, or what, or when, but why.
I think the only choice that will enable us to hold to our vision. . . is one that abandons the concept of naming enemies and adopts a concept familiar to the nonviolent tradition: naming behavior that is oppressive.
Take the whole universe all at once and put it on your eyelashes.
Gertrude Jekyll, like Monet, was a painter with poor eyesight, and their gardens - his at Giverny in the Seine valley, hers in Surrey - had resemblance's that may have sprung from this condition. Both loved plants that foamed and frothed over walls and pergolas, spread in tides beneath trees; both saw flowers in islands of colored light - an image the normal eye captures only by squinting.
I was not looking now at an unusual flower arrangement. I was seeing what Adam had seen on the morning of his creation - the miracle, moment by moment, of naked existence.
The eye encompasses the beauty of the whole world.
We never see a tree except through the image that we have of it, the concept of that tree; but the concept, the knowledge, the experience, is entirely different from the actual tree. Look at a tree and you will find how extraordinarily difficult it is to see it completely, so that no image, no screen, comes between the seeing and the actual fact. By completely I mean with the totality of your mind and heart, not a fragment of it.
Ineluctable modality of the visible; at least that if no more, thought through my eyes. Signatures of all things I am here to read.
One looks, looks long, and the world comes in.
My eyes make pictures when they are shut.
Without the eye, the head is blind. Without the head, the eye is adrift.
What has happened makes the world. Live on the edge, looking.
Sight is where the eye hits.
For me, a landscape does not exist in its own right, since its appearance changes at every moment; but the surrounding atmosphere brings it to life - the light and the air which vary continually. For me, it is only the surrounding atmosphere which gives subjects their true value.
Or, to express this in another way, suggested to me by Professor Suzuki, in connection with seeing into our own nature, poetry is the something that we see, but the seeing and the something are one; without the seeing there is no something, no something, no seeing. There is neither discovery nor creation: only the perfect, indivisible experience.
Same old eyes, same old world but the difference is how you look at what is in front of you, not what it is.
Probably the most potent desire for a painter, an image-maker, is to see it. To see what the mind can think and imagine, to realize it for oneself, through oneself, as concretely as possible.
My work isn't about form. It's about seeing. I'm excited about seeing things, and I'm interested in the way I think other people see things.
The principal person in a picture is light.
At one point consciousness-altering devices like the microscope and telescope were criminalized for exactly the same reasons that psychedelic plants were banned in later years. They allow us to peer into bits and zones of Chaos.
Gardeners work with an ever-receding ideal of perfection; no sooner is something growing well than they see how to place it better or give it a better neighbor. To other's eyes, all may look as well as could be expected, but a good gardener's eye sees more to be improved.
Part of being a revolutionary is creating a vision that is more humane. That is more fun, too. That is more loving. It's really working to create something beautiful.
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