A Quote by Ken Wilber
In the dream state, the mind and soul are set free to create as they please, to imagine vast worlds not tied to gross sensory realities but reaching out, almost magically, to touch other souls, other people and far-off places, wild and radiant images cascading to the rhythm of the heart's desire.
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Sometime in the future, science will be able to create realities that we can't even begin to imagine. As we evolve, we'll be able to construct other information systems that correspond to other realities, universes based on logic completely different from ours and not based on space and time.
Meanwhile the mind, from pleasure less, Withdraws into its happiness; The mind, that ocean where each kind Does straight its own resemblance find; Yet it creates, transcending these, Far other worlds, and other seas; Annihilating all that's made To a green thought in a green glade ... Such was that happy garden-state.
I think architecture could be understood as the construction of realities, or the construction of worlds. One of the reasons why architects are often attracted to philosophers, partially, has to do with making sense of the world around us as well as the making of worlds, and in our case, the realities we create can be as real as concrete. These kinds of ideas, of wild imagination, go into the question of how you make a world.
And now good morrow to our waking souls, Which watch not one another out of fear; For love, all love of other sights controls, And makes one little room, an everywhere. Let sea-discoverers to new worlds have gone, Let maps to other, worlds on worlds have shown, Let us possess one world, each hath one, and is one.
Yes, I have dreams. I ofttimes dream of Love As radiant and brilliant as a star. As changeless, too, as that fixed light afar Which glorifies vast worlds of space above.
We either have wild places or we don't. We admit the spiritual-emotional validity of wild, beautiful places or we don't. We have a philosophy of simplicity of experience in these wild places or we don't. We admit an almost religious devotion to the clean exposition of the wild, natural earth or we don't.
I create other worlds, magical never-never lands where the camera is my weapon and the battles I fight are with the elements. i stretch the laws of the mind and displace people from their realities to capture a side of them they didn’t even know they had. Photography has the ability to freeze people in this time and space—no matter what happens after that moment, it cannot change—they are exactly how i want them to be.
In creating a work of art, the psyche or soul of the artist ascends from the earthly realm into the heavenly. There, free of all images, the soul is fed in contemplation by the essences of the highest realm, knowing the permanent noumena of things. Then, satiated with this knowing, it descends again to the earthly realm. And precisely at the boundary between the two worlds, the soul’s spiritual knowledge assumes the shapes of symbolic imagery: and it is these images that make permanent the work of art. Art is thus materialized dream, separated from the ordinary consciousness of waking life.
Some people automatically associate morality and altruism with a religious vision of the world. But I believe it is a mistake to think that morality is an attribute only of religion. We can imagine two types of spirituality: one tied to religion, while the other arises spontaneously in the human heart as an expression of love for our neighbors and a desire to do them good.
The acid test for any theology is this: Is the God presented one that can be loved, heart, soul, mind, and strength? ... If it fails to set a lovable God--a radiant, happy, friendly, accessible, and totally competent being--before ordinary people, we have gone wrong
What is it that makes you want to write songs? In a way you want to stretch yourself into other people’s hearts. You want to plant yourself there, or at least get a resonance, where other people become a bigger instrument than the one you’re playing. It becomes almost an obsession to touch other people. To write a song that is remembered and taken to heart is a connection, a touching of bases. A thread that runs through all of us. A stab to the heart. Sometimes I think songwriting is about tightening the heartstrings as much as possible without bringing on a heart attack.
No other sentiment draws people to Jerusalem than the desire to see and touch the places where Christ was physically present, and to be able to say from their very own experience: 'We have gone into his tabernacle, and have worshipped in the places where his feet have stood.'
I am myself a professional creator of images, a film-maker. And then there are the images made by the artists I collect, and I have noticed that the images I create are not so very different from theirs. Such images seem to suggest how I feel about being here, on this planet. And maybe that is why it is so exciting to live with images created by other people, images that either conflict with one's own or demonstrate similarities to them.
As far as possible, Arianne realized, each soul had to be content alone before plunging into love, because one never knew when the other would move out of that love. It was the greatest paradox: Souls need each other, but they also need to not need each other.
In my teen years and early twenties I was really interested in this fellaheen worlds that, of course, Kerouac invokes and wanting to go below the border and wanting to get to these other places or interstices of the culture where you were encountering the realities of these other kinds of cultures, experiences, language, I think of jazz culture of course.
I desire to unite Myself to human souls, Know, My daughter, that when I come to a human heart in Holy Communion, My hands are full of all kinds of graces which I want to give to the soul. But souls do not even pay any attention to Me; they leave Me to Myself and busy themselves with other things... They treat Me as a dead object.
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