A Quote by Terry Brooks
I want you, as a reader, to experience what I experience, to let that other world, that imaginary world that I have created, tell you things about the real world.
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I had the idea that there were two worlds. There was a real world as I called it, a world of wars and boxing clubs and children'shomes on back streets, and this real world was a world where orphans burned orphans.... I liked the other world in which almost everyone lived. The imaginary world.
The film from the beginning is not the real world; it's an imaginary world. And this imaginary world is both inside and outside the normal world.
What has history to do with me? Mine is the first and only world! I want to report how I find the world. What others have told me about the world is a very small and incidental part of my experience. I have to judge the world, to measure things.
Most of the founders of this country had day jobs for years. They were not career politicians. ... We need leaders with experience in the real world, not experience in the phony world of politics.
A world where people do not care about the quality of their experience is not a good world for Apple. A world where people care about those details and want to complain about them is the world where our values shine.
If there's any kind of morality, for me, it's about reality; what is reality? I have a hard time distinguishing what is valuable when it comes to the real world and the fantasy world. Like, should I invest my time in the ordinary world or the imaginary world?
In our culture, imitation-based experience dominates reality-based experience. I find this an awful thing. But there are artists who know from the bottom of their souls that art is about the experience of reality. The reason we have art is because you can’t get a real experience from the world.
At my last job in the tech world, we'd throttle our wi-fi to experience what download speeds might be like for someone in the developing world. It was our attempt to experience it first hand. I thought it was a bit ridiculous because, no matter what we did, we wouldn't be able to fully experience their world unless we were living it every day.
When I'm writing about complicated subjects, it usually involves a world. It could be the world of Scientology or the world of Al Qaeda, or the world of counter-terrorism.I look for emblematic beasts of burden - what I call "donkeys" - who can carry the reader through this world. They serve a different purpose. Donkeys are not especially interesting or likeable, but they are serviceable. They will take you into this world. The distinction I'm trying to make is: It's not about them. It's about the world.
You look at it [a photograph] and all around the real world is humming, buzzing and moving, and yet in this little frame there is stillness that looks like the world. That connection, that collision, that interfacing, is one of the most astonishing things we can experience.
It can be demonstrated that the child's contact with the real world is strengthened by his periodic excursions into fantasy. It becomes easier to tolerate the frustrations of the real world and to accede to the demands of reality if one can restore himself at intervals in a world where the deepest wishes can achieve imaginary gratification.
Our present world contains clues...to another world-a world which we can begin to experience now, but will only know in all its fullness at the end of things.
As a reader, I want a book to kidnap me into its world. Its world must make my so-called real world seem flimsy. Its world must lure me to return. When I close the book, I should feel bereft.
I want my books to exist in the literary world, not only in the art world. I am interested in having a dialogue with other writers, and the readers of those writers. Someone who is reading a book of mine might not have visited my exhibitions related to it, but can still have a full, literary experience with that book. This would be a completely different experience from stepping into the show, not having read the book. One form is not illustrative of the other.
Experience is real. Painting, which comes out of experience, is real. The world is an illusion.
We can understand first of all that what is happening in the world of becoming, the world we all experience as beings, is that novelty is entering into being, and it is changing the modalities of the real world toward greater and greater levels of integration.
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