A Quote by George Richard Marek

[Opera] does not call so much for an imaginative ear as for an imaginative eye, an eye which can see beyond little absurdities toward great truths. — © George Richard Marek
[Opera] does not call so much for an imaginative ear as for an imaginative eye, an eye which can see beyond little absurdities toward great truths.
The ear is profound, whereas the eye is frivolous, too easily satisfied. The ear is active, imaginative, whereas the eye is passive. When you hear a noise at night, instantly you imagine its cause. The sound of a train whistle conjures up the whole station. The eye can perceive only what is presented to it.
The great and secret message of the experiential mystics the world over is that, with the eye of contemplation, Spirit can be seen. With the eye of contemplation, the great Within radiantly unfolds. And in all cases, the eye with which you see God is the same eye with which God sees you: the eye of contemplation.
Should I tell you one thing, I am blind from my right eye. I see only from my left eye. The one you see is someone else's eye which was donated to me after his death. If I close my left eye, I can see no one.
The ear participates, and helps arrange marriages; the eye has already made love with what it sees. The eye knows pleasure, delights in the body's shape: the ear hears words that talk about all this. When hearing takes place, character areas change; but when you see, inner areas change. If all you know about fire is what you have heard see if the fire will agree to cook you! Certain energies come only when you burn. If you long for belief, sit down in the fire! When the ear receives subtly; it turns into an eye. But if words do not reach the ear in the chest, nothing happens.
Serving people we don't see eye to eye with is the essence of Christianity. Jesus died for a world with which he didn't see eye to eye. If a bakery doesn't want to sell its products to a gay couple, it's their business. Literally. But leave Jesus out of it.
The camera can push the new medium to its limits - and beyond. It is there - in the "beyond" - that the imaginative photographer will compete with the imaginative painter. Painting must return to the natural world from time to time for renewal of the artistic vision. The key sector of renewal of vision today is the new vistas revealed by science. Here photography, which is not only art but science also, stands on the firmest ground.
The eye is a very quick instrument, much quicker than the ear. The eye gets it immediately.
The eye is a very quick instrument, much quicker than the ear. The eye gets it immediately
If we can come up with all sorts of imaginative ways in which people die, then I really don't see what the problem is with coming up with imaginative ways in which people can procreate.
The eye through which I see God is the same eye through which God sees me; my eye and God's eye are one eye, one seeing, one knowing, one love.
The artist does not see both eyes alike. There is always 'the eye' and the other eye... It adds life and plasticity to the drawing if the eye in the light is darker than the one in the shadow. It gives the head vividness.
Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception.
But to read all Scripture narratives as if they were eye-witness reports in a modern newspaper, and to ignore the poetic and imaginative form in which they are sometimes couched, would be no less a violation of the canons of evangelical literalism than the allegorizing of the Scholastics was.
When a scene is shrouded in mist, it seems greater, nobler, and heightens the viewers' imaginative powers, increasing expectation - like a veiled girl. Generally the eye and the imagination are more readily drawn by nebulous distance than by what is perfectly plain for all to see
Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception. How many colors are there in a field of grass to the crawling baby unaware of ‘Green?’ How many rainbows can light create for the untutored eye?
A poem needs imaginative rhythms as well as imaginative transformation of content.
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