A Quote by Agnes Varda
My mind is often half-sleeping, like in a daydream.
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And yet, and yet, in these our ghostly lives, Half night, half day, half sleeping, half awake, How if our waking life, like that of sleep, Be all a dream in that eternal life To which we wake not till we sleep in death
Daydreaming is one of the key sources of poetry - a poem often starts as a daydream that finds its way into language - and walking seems to bring a different sort of alertness, an associative kind of thinking, a drifting state of mind.
I often daydream about the future, thinking of the world in 100, 200 years, imagining what it looks like, feels like. I hope that my books are like ghosts that will inhabit this future.
I don't have much of an imagination, but I have a mind bank of details, which I play with. It's how I daydream, so writing like that is natural for me.
I spent many a summer early morning with the radio very low, half sleeping and half listening.
'Daydream' brought us to the top of the heap of the indie-college market and recognition by all of our peers; 'Daydream' kind of capped off everything we set out to do when we started as a band, in terms of, like, wow, wouldn't it be great to make a record that a lot of people liked and listened to?
Mind is a duality; it is always split. There is no single point on which the mind agrees in totality. Half of the mind will agree and half of the mind will disagree, and whatever you choose, you are choosing only the half. The remaining half is going to take revenge. The unchosen part, the left over, will wait for its chance to show you that whatever you have chosen is wrong. But it does not matter which part you choose. Choice itself is wrong.
Man is perhaps half mind and half matter in the same way as the polyp is half plant and half animal. The strangest creatures are always found on the border lines of species.
I was trying to daydream, but my mind kept wandering.
Whatever you do, do it to the purpose; do it thoroughly, not superficially. Go to the bottom of things. Any thing half done, or half known, is in my mind, neither done nor known at all. Nay, worse, for it often misleads.
In a daydream sort of way, I think it would be pretty cool to direct a movie. But I have been on movie and TV sets and know it is hard work. I like directing it in my mind. It is easier.
I really think that I don't mind people sleeping during my films, because I know that some very good films might prepare you for sleeping or falling asleep or snoozing. It's not to be taken badly at all.
Once we're able to see this world as an illusion and a phantasm, then we can see everything that happens to us as a dream, as something that pretended to exist while we were sleeping. And we will become subtly and profoundly indifferent towards all of life's setbacks and calamities. Those who die turned a corner, which is why we've stopped seeing them; those who suffer pass before us like a nightmare, if we feel, or like an unpleasant daydream, if we think. And even our own suffering won't be more than this nothingness.
The poisonous serpent of afflictions is sleeping in your mind; just as if a black viper were asleep in your room. You must use the hook of precepts to quickly remove it. When the sleeping snake is gone, then you can rest at ease.
Improvisation, it is a mystery. You can write a book about it, but by the end no one still knows what it is. When I improvise and I'm in good form, I'm like somebody half sleeping. I even forget there are people in front of me. Great improvisers are like priests; they are thinking only of their god.
There is a drowsy state, between sleeping and waking, when you dream more in five minutes with your eyes half open, and yourself half conscious of everything that is passing around you, than you would in five nights with your eyes fast closed, and your senses wrapt in perfect unconsciousness. At such time, a mortal knows just enough of what his mind is doing, to form some glimmering conception of its mighty powers, its bounding from earth and spurning time and space, when freed from the restraint of its corporeal associate.
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