~Imagination.~--We are all of us imaginative in some form or other, for images are the brood of desire.--_George Eliot._
When thou wishest to see whether thy picture corresponds entirely with the objects thou hast drawn from nature, take a mirror and let the living reality be reflected in it, and compare the reflection with thy picture, and consider well {115} whether the subject of the two images are in harmony one with another.
The brain is that which perceives what is transmitted to it by the other senses. The brain moves by means of that which is transmitted to it by the five senses. Motion is transmitted to the senses by objects, and these objects, transmitting their images to the five senses, are transferred by them to the perception, and by the perception to the brain; and there they are comprehended and committed to the memory, in which, according to their intensity, they are more or less firmly retained.
Qui fingit sacros auro vel marmore vultus, / Non facit ille deos: qui rogat, ille facit=--He does not make gods who fashions sacred images of gold or marble: he makes them such who prays to them.
People think dreams aren't real just because they aren't made of matter, of particles. Dreams are real. But they are made of viewpoints, of images, of memories and puns and lost hopes.
Mystery: Time and Tide shall pass, I am the Wisdom Looking-Glass. This is the Ruby none can touch: Many have loved it overmuch; Its fathomless fires flutter and sigh, Being as images of the flame That shall make earth and heaven the same When the fire of the end reddens the sky, And the world consumes like a burning pall, Till where there is nothing, there is all.
Therefore, the great business of the scientific teacher is, to imprint the fundamental, irrefragable facts of his science, not only by words upon the mind, but by sensible impressions upon tne eye, and ear, and touch of the student, in so complete a manner, that every term used, or law enunciated, should afterwards call up vivid images of the particular structural, or other, facts which furnished the demonstration of the law, or the illustration of the term.
You may read any quantity of books, and you may be almost as ignorant as you were at starting, if you don't have, at the back of your minds, the change for words in definite images which can only be acquired through the operation of your observing faculties on the phenomena of nature.
Never do I hesitate to look squarely at the unexpected face that every passing hour unveils to us, and to sacrifice the false images of it formed in advance, however dear they may be. In me, the love of life in general predominates over love of my own life (that, indeed, would never have sufficed to bear me up). May life herself speak! However inadequate I may be in listening to her, and in repeating her words, I shall try to record them, even if they contradict my most secret desires. In all that I write, may her will, not mine, be done!
And when the stream Which overflowed the soul was passed away, A consciousness remained that it had left Deposited upon the silent shore Of memory images and precious thoughts That shall not die, and cannot be destroyed.
It is better the truth should come little by little. I have learned that, being a priest. Perhaps, in the old days, they ate knowledge too fast. Nevertheless, we make a beginning. It is not for the metal alone we go to the Dead Places now — there are the books and the writings. They are hard to learn. And the magic tools are broken — but we can look at them and wonder. At least, we make a beginning. And, when I am chief priest we shall go beyond the great river. We shall go to the Place of the Gods — the place newyork — not one man but a company. We shall look for the images of the gods and find the god ASHING and the others — the gods Lincoln and Biltmore and Moses. But they were men who built the city, not gods or demons. They were men. I remember the dead man's face. They were men who were here before us. We must build again.
Painting ministers to a nobler sense than poetry, depicts the forms of the works of nature with greater truth than poetry; and the works of nature are nobler than the words which are the works of man, because there is the same proportion between the works of man and those of nature as there is between man and God. Therefore it is a more worthy thing to imitate the works of nature, which are the true images embodied in reality, than to imitate the actions and the words of men.
I feel very much like Dirac: the idea of a personal God is foreign to me. But we ought to remember that religion uses language in quite a different way from science. The language of religion is more closely related to the language of poetry than to the language of science. True, we are inclined to think that science deals with information about objective facts, and poetry with subjective feelings. Hence we conclude that if religion does indeed deal with objective truths, it ought to adopt the same criteria of truth as science. But I myself find the division of the world into an objective and a subjective side much too arbitrary. The fact that religions through the ages have spoken in images, parables, and paradoxes means simply that there are no other ways of grasping the reality to which they refer. But that does not mean that it is not a genuine reality. And splitting this reality into an objective and a subjective side won't get us very far.
In a poem there should be not only the poetry of images, but also the poetry of ideas.
And if thou, O poet, wishest to describe the works of nature by thine unaided art, and dost represent various places and the forms of diverse objects, the painter surpasses thee by an infinite degree of power; but if thou wishest to have recourse to the aid of other sciences, apart from poetry, they are not thy own; for instance, astrology, rhetoric, theology, philosophy, geometry, arithmetic and the like. Thou art not then a poet any longer. Thou transformest thyself, and art no longer that of which we are speaking. Now seest thou not that if thou wishest to go to nature, thou reachest her by the means of science, deduced by others from the effects of nature? And the painter, through himself alone, without the aid of aught appertaining to the various sciences, or by any other means, achieves directly the imitation of the things of nature. By painting, lovers are attracted to the images of the beloved to converse with the depicted semblance. By painting whole populations are led with fervent vows to seek the image of the deities, and not to see the books of poets which represent the same deities in speech; by painting animals are deceived. I once saw a picture which deceived a dog by the image of its master, which the dog greeted with great joy; and likewise I have seen dogs bark at and try to bite painted dogs; and a monkey make a number of antics in front of a painted monkey. I have seen swallows fly and alight on painted {68} iron-works which jut out of the windows of buildings.
It is better to be a fool than to be dead. It is better to emit a scream in the shape of a theory than to be entirely insensible to the jars and incongruities of life and take everything as it comes in a forlorn stupidity. Some people swallow the universe like a pill; they travel on through the world, like smiling images pushed from behind. For God's sake give me the young man who has brains enough to make a fool of himself!
Mirrors should reflect a little before throwing back images.
Education gives fecundity of thought, copiousness of illustration, quickness, vigour, fancy, words, images, and illustrations; it decorates every common thing, and gives the power of trifling without being undignified and absurd.
~Education.~--Education gives fecundity of thought, copiousness of illustration, quickness, vigor, fancy, words, images, and illustrations; it decorates every common thing, and gives the power of trifling without being undignified and absurd.--_Sydney Smith._
The noblest works and foundations have proceeded from childless men, which have sought to express the images of their minds where those of their bodies have failed.
The mind of the painter must be like unto a mirror, which ever takes the colour of the object it reflects, and contains as many images as there are objects before it. Therefore realize, O painter, that thou canst not succeed unless thou art the universal master of imitating by thy art every variety of nature's forms, and this thou canst not do save by perceiving them and retaining them in thy mind; wherefore when thou walkest in the country let thy mind play on various objects, observe now this thing and now that thing, making a store of various objects selected and chosen from those of lesser value. And thou shalt not do as some painters, who, when weary of plying {103} their fancy, dismiss their work from their mind and take exercise in walking for relaxation, but retain fatigue in the mind, which, though they see various objects, does not apprehend them, but often when they meet friends and relations and are saluted by them, they are no more conscious of them than if they had met empty air.
The thinkers of ancient times concluded that the part of man which constitutes his intellect is caused by an instrument to which the other five {28} senses refer everything by means of the perception, and this instrument they have named the "common sense" or brain, and they say that this sense is situated in the centre of the head. And they have given it this name "common sense" solely because it is the common judge of the five other senses, that is to say, sight, hearing, touch, taste and smell. The "common sense" is stirred by means of the perception which is placed between it and the senses. The perception is stirred by means of the images of things conveyed to it by the external instruments to the senses, and these are placed in the centre between the external things and the perception, and the senses likewise are stirred by objects. Surrounding objects transmit their images to the senses, and the senses transfer them to the perception, and the perception transfers them to the "common sense" (brain), and by it they are stamped upon the memory, and are there retained in a greater or lesser degree according to the importance and intensity of the impression. The sense which is most closely connected with the perception is the most rapid in action, and this sense is the eye, the highest and chief of the others; of this sense alone we will treat, and we will leave the others in order not to unduly lengthen our matter.
Invention, strictly speaking, is little more than a new combination of those images which have been previously gathered and deposited in the memory. Nothing can be made of nothing: he who has laid up no materials can produce no combinations.--_Sir J. Reynolds._
(_The Oxford Translation. Bohn's Classical Library._) The images of twenty of the most illustrious families--the Manlii, the Quinctii, and other names of equal splendour--were carried before it . Those of Brutus and Cassius were not displayed; but for that very reason they shone with pre-eminent lustre.[747-1]
And in this case I know that I shall make not a few enemies, since no one will believe what I say of him; because there are but few whom his vices have disgusted, indeed they only disgusted those men whose natures are contrary to such vices; and many hate their fathers and break off friendship with those who reprove their vices, and they will have no examples brought up against them, nor tolerate any advice. And if you meet with any one who is good and virtuous drive him not away from you, do him honour, so that he may not have to flee from you and hide in hermitages, or caverns and other solitary spots, in order to escape from your treachery; and if there be such an one do him honour, because these are your gods upon earth, they deserve statues from you and images ... but remember that you are not to eat their images, as is practised still in some parts of India, where, when images have performed some miracle, the priests cut them in pieces (since they are of wood) and distribute them among the people of the country, not {51} without payment, and each one grates his portion very fine and puts it upon the first food he eats; and thus they believe that they have eaten their saint by faith, who will preserve them from all perils. What is thy opinion, O man, of thy own species? Art thou so wise as thou believest to be? Are these things to be done by men?
Sympathetic people are often uncommunicative about themselves; they give back reflected images which hide their own depths.
Speech is morning to the mind; it spreads the beauteous images abroad, which else lie furled or clouded in the soul.
All plumed like estridges that with the wind Baited like eagles having lately bathed; Glittering in golden coats, like images; As full of spirit as the month of May, And gorgeous as the sun at midsummer.
Man is God's image; but a poor man is / Christ's stamp to boot: both images regard. / God reckons for him, counts the favour His.
With it images are made to the gods; around it divine worship is conducted, of which music is a subservient ornament; by means of it pictures are given to lovers of their beloved; by it the beauties are preserved which time, and nature the mother, render fitful; by it we retain the images of famous men. And if thou wert to say that by committing music to writing you render it eternal, we do the same with letters.
Regard not dreams, since they are but the images of our hopes and fears.
All that literature has to bestow may be obtained by reading and by practical exercise in writing and in speaking; but I do not exaggerate when I say that none of the best gifts of science are to be won by these means. On the contrary, the great benefit which a scientific education bestows, whether as training or as knowledge, is dependent upon the extent to which the mind of the student is brought into immediate contact with facts--upon the degree to which he learns the habit of appealing directly to Nature, and of acquiring through his senses concrete images of those properties of things, which are, and always will be, but approximatively expressed in human language. Our way of looking at Nature, and of speaking about her, varies from year to year; but a fact once seen, a relation of cause and effect, once demonstratively apprehended, are possessions which neither change nor pass away, but, on the contrary, form fixed centres, about which other truths aggregate by natural affinity.
All world-images are apt to become corrupt when left to ecclesiastic bureaucracies. But this does not make the formation of world-images expendable. And I can only repeat that we deny the remnants of old-world images at our own risk, because we do not overcome them by declaring them — with all the righteousness of skepticism — something of a secret sin. They are not less powerful for being denied.
The moment always comes when, having collected one's ideas, certain images, an intuition of a certain kind of development — whether psychological or material — one must pass on to the actual realization.
The imagination does not perceive such excellent things as the eye, because the eye receives the images or semblances from objects, and transmits them to the perception, and from thence to the brain; and there they are comprehended. But the imagination does not issue forth from the brain, with the exception of that part of it which is transmitted to the memory, and in the brain it remains and dies, if the thing imagined is not of high quality. And in this case poetry is formed in the mind or in the imagination of the poet, who depicts the same objects as the painter, and by reason of the work of his fancy he wishes to rival the painter, but in reality he is greatly inferior to him, as we have shown above. Therefore with regard to the work of fancy we will say that there is the same proportion between the art of painting and that of poetry as exists between the body and the shadow proceeding from it, and the proportion is still greater, inasmuch as the shadow of such a body at least penetrates to {122} the brain through the eye, but the imaginative embodiment of such a body does not enter into the eye, but is born in the dark brain. Ah! What difference there is between imagining such a light in the darkness of the brain and seeing it in concrete shape set free from all darkness.
The imagination is to the effect as the shadow to the opaque body which causes the shadow, and the proportion is the same between poetry and painting. Because poetry produces its results in the {66} imagination of the reader, and painting produces them in a concrete reality outside the eye, so that the eye receives its images just as if they were the works of nature; and poetry produces its results without images, and they do not pass to the brain through the channel of the visual faculty, as in painting.
The great mystery is not that we should have been thrown down here at random between the profusion of matter and that of the stars; it is that from our very prison we should draw, from our own selves, images powerful enough to deny our own nothingness.
We must be clear that when it comes to atoms, language can be used only as in poetry. The poet, too, is not nearly so concerned with describing facts as with creating images and establishing mental connections.
Painting manifests its essence to thee in an instant of time,--its essence by the visual faculty, the very means by which the perception apprehends natural objects, and in the same duration of time,--and in this space of time the sense-satisfying harmony of the proportion of the parts composing the whole is formed. And poetry apprehends the same things, but by a sense inferior to that of the eyesight, which bears the images of the objects named to the perception with greater confusion and less speed. Not in such wise acts the eye (the true intermediary between the object and the perception), for it immediately communicates the true semblance and image of what is represented before it with the greatest accuracy; whence that proportion arises called harmony, which with sweet concord delights the sense in the same way as the harmony of diverse voices delights the ear; and this harmony is less worthy than that which delights the eye, because for every part of it that is born a part dies, and it dies as fast as it is born. This {74} cannot occur in the case of the eye; because if thou presentest a beautiful living mortal to the eye, composed of a harmony of fair limbs, its beauty is not so transient nor so quickly destroyed as that of music; on the contrary it has permanent duration, and allows thee to behold and consider it; and it is not reborn as in the case of music which is played many times over, nor will it weary thee: on the contrary, thou becomest enamoured with it, and the result it produces is that all the senses, together with the eye, would wish to possess it, and it seems that they would wish to compete with the eye: it appears that the mouth desires it for itself, if the mouth can be considered as a sense; the ear takes pleasure in hearing its beauty; the sense of touch would like to penetrate into all its pores; the nose also would like to receive the air it exhales.
Pleasure preconceived and preconcerted ends in disappointment; but disappointment, when it involves neither shame nor loss, is as good as success; for it supplies as many images to the mind, and as many topics to the tongue.
From the Hindu perspective, each soul is divine. All religions are branches of one big tree. It doesn't matter what you call Him just as long as you call. Just as cinematic images appear to be real but are only combinations of light and shade, so is the universal variety a delusion. The planetary spheres, with their countless forms of life, are naught but figures in a cosmic motion picture. One's values are profoundly changed when he is finally convinced that creation is only a vast motion picture and that not in, but beyond, lies his own ultimate reality.
Things more excellent than every image are expressed through images.
How can such deep-imprinted images sleep in us at times, till a word, a sound, awake them?--_Lessing._
Painting has a wider intellectual range and is more wonderful and greater as regards its artistic resources than sculpture, because the painter is by necessity constrained to amalgamate his mind with the very mind of nature and to be the interpreter between nature and art, making with art a commentary on the causes of nature's manifestations which are the inevitable result of its laws; and showing in what way the likenesses of objects which surround the eye correspond with the true images of the pupil of the eye, and showing among objects of equal size which of them will appear more or less dark, or more or less clear; and among objects equally low which of them will appear more or less low; or among those of the same height which of them will appear more or less high; or among objects of equal size {99} placed at various distances one from the other, why some will appear more clearly than others. And this art embraces and comprehends within itself all visible things, which sculpture in its poverty cannot do: that is, the colours of all objects and their gradations; it represents transparent objects, and the sculptor will show thee natural objects without the painter's devices; the painter will show thee various distances with the gradations of colour producing interposition of the air between the objects and the eye; he will show thee the mists through which the character of objects is with difficulty descried; the rains which clouded mountains and valleys bring with them; the dust which is inherent to and follows the contention between these forces; the rivers which are great or small in volume; the fishes disporting themselves on the surface or at the bottom of these waters; the polished pebbles of various colours which are collected on the washed sands at bottom of rivers surrounded by floating plants beneath the surface of the water; the stars at diverse heights above us; and in the same manner other innumerable effects to which sculpture cannot attain.
No intellectual images are without use.
As in Protestant Europe, by contrast, where sects divided endlessly into smaller competing sects and no church dominated any other, all is different in the fragmented world of IBM. That realm is now a chaos of conflicting norms and standards that not even IBM can hope to control. You can buy a computer that works like an IBM machine but contains nothing made or sold by IBM itself. Renegades from IBM constantly set up rival firms and establish standards of their own. When IBM recently abandoned some of its original standards and decreed new ones, many of its rivals declared a puritan allegiance to IBM's original faith, and denounced the company as a divisive innovator. Still, the IBM world is united by its distrust of icons and imagery. IBM's screens are designed for language, not pictures. Graven
on the austerity of the word.
-- Edward Mendelson, "The New Republic", February 22, 1988
<Knghtbrd> Yorick: no problem with indexed color palettes for images, as long as you can pick the palette <Yorick> Obviously the people creating quake were colour-blind but that doesn't mean you have to be
Couldn't we jury-rig the cat to act as an audio switch, and have it yell at people to save their core images before logging them out? I'm sure the cattle prod would be effective in this regard. In any case, a traverse mounted iguana, while more perverted, gives better traction, not to mention being easier to stake.
Mirrors should reflect a little before throwing back images. -- Jean Cocteau
Pictures of the near past--her father's illness and last moments--rose one after another to her memory. With mournful pleasure she now lingered over these images, repelling with horror only the last one, the picture of his death, which she felt she could not contemplate even in imagination at this still and mystic hour of night. And these pictures presented themselves to her so clearly and in such detail that they seemed now present, now past, and now future.