A Quote by Alberto Giacometti
Once the object has been constructed, I have a tendency to discover in it, transformed and displaced, images, impressions, facts which have deeply moved me.
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Once the object has been constructed, I have a tendency to rediscover in it, transformed and displaced, images, impressions, facts which have deeply moved me (often without my knowing it).
The mainspring of creativity appears to be the same tendency which we discover so deeply as the curative force in psychotherapy, man's tendency to actualize himself, to become his potentialities. By this I mean the organic and human life, the urge to expand, extend, develop, mature - the tendency to express and activate all the capacities of the organism, or the self.
All nationalisms are at heart deeply concerned with names: with the most immaterial and original human invention. Those who dismiss names as a detail have never been displaced; but the peoples on the peripheries are always being displaced. That is why they insist upon their continuity - their links with their dead and the unborn.
In societies where modern conditions of productions prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into representation. The images detached from every aspect of life fuse in a common stream in which the unity of this life can no longer be re-established. Reality considered partially unfolds, in its own general unity as a pseudo-world apart, an object of mere contemplation . . . The spectacle is not a collection of images, but a social relation among people, mediated by images.
The Arabs are victims. You have Shia Arabs, under Arabization under Saddam Hussein, who were forcibly moved up there... You have Kurds who were displaced by these Arabs that were moved up there by Saddam Hussein. Kurds have been displaced from Kirkuk for hundreds of years.
Indeed, we might all forget where we have been if we didn't have somebody to assemble and arrange the little blocks called facts from which history is constructed, artfully or less so.
Never, in all my early childhood, did anyone address to me the affecting preamble: 'Once upon a time!' ... I can but think that my parents were in error thus to exclude the imaginary from my outlook upon facts. They desired to make me truthful; the tendency was to make me positive and sceptical. Had they wrapped me in the soft folds of supernatural fancy, my mind might have been longer content to follow their traditions in an unquestioning spirit.
That one record changed everything for me. After Sgt. Pepper, it's the most influential record in the history of rock and roll. It affected Pink Floyd deeply, deeply, deeply. Philosophically, other albums may have been more important, like Lennon's first solo album. But sonically, the way the record's constructed, I think Music from Big Pink is fundamental to everything that happened after it.
We realize--often quite suddenly--that our sense of self, which has been formed and constructed out of our ideas, beliefs and images, is not really who we are. It doesn't define us, it has no center.
There are in me the seeds from which, if necessary, the universe could be constructed. In me somewhere there is a matrix for mankind and a holograph for the whole world. Nothing is more important in my life than trying to discover these secrets.
Facts are the images of history, just as images are the facts of fiction.
The object . . . is to discover methods of condensing information concerning large groups of allied facts into brief and compendious expressions suitable for discussion.
I had lines inside me, a string of guiding lights. I had language. Fiction and poetry are doses, medicines. What they heal is the rupture reality makes on the imagination. I had been damaged, and a very important part of me had been destroyed - that was my reality, the facts of my life. But on the other side of the facts was who I could be, how I could feel. And as long as I had words for that, images for that, stories for that, then I wasn't lost.
To suffer is one thing; another thing is living with the photographed images of suffering, which does not necessarily strengthen conscience and the ability to be compassionate. It can also corrupt them. Once one has seen such images, one has started down the road of seeing more - and more. Images transfix. Images anesthetize.
What is becoming more interesting than the myths themselves has been the study of how the myths were constructed from sparse or unpromising facts indeed, sometimes from no facts in a kind of mute conspiracy of longing, very rarely under anybody's conscious control.
What Warcollier demonstrated is compatible with what modern cognitive neuroscience has learned about how visual images are constructed by the brain. It implies that telepathic perceptions bubble up into awareness from the unconscious and are probably processed in the brain in the same way that we generate images in dreams. And thus telepathic “images” are far less certain than sensory-driven images and subject to distortion.
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