“According to my attempts to understand them, reality is systematically denied in the Copenhagen interpretation in order to circumvent consistency problems (such as “Is the electron really a wave or a particle?”). If there is no reality, one does not need a consistent description!”

Source: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 7

Piaget (1971, p.27) cited in: Ernst von Glasersfeld "Homage to Jean Piaget (1896–1980)". In: Irish Journal of Psychology, 18, pp. 293–306

Introduction : The absurdity of the Absurd
The Theatre of the Absurd (1961)
Context: The "poetic avant-garde" relies on fantasy and dream reality as much as the Theatre of the Absurd does; it also disregards such traditional axioms as that of the basic unity and consistency of each character or the need for a plot. Yet basically the "poetic avant-garde" represents a different mood; it is more lyrical, and far less violent and grotesque. Even more important is its different attitude toward language: the "poetic avant-garde" relies to a far greater extent on consciously "poetic" speech; it aspires to plays that are in effect poems, images composed of a rich web of verbal associations.
The Theatre of the Absurd, on the other hand, tends toward a radical devaluation of language, toward a poetry that is to emerge from the concrete and objectified images of the stage itself. The element of language still plays an important part in this conception, but what happens on the stage transcends, and often contradicts, the words spoken by the characters. In Ionesco's The Chairs, for example, the poetic content of a powerfully poetic play does not lie in the banal words that are uttered but in the fact that they are spoken to an ever-growing number of empty chairs.

On the U.S. attitude regarding alleged Iraqi weapons of mass destruction as a justification for U.S. military action, as quoted widely in the media including the Boston Globe article "Newsview: U.S. reports no weapons in Iraq", September 18, 2004 http://www.boston.com/news/world/middleeast/articles/2004/09/18/us_leaks_report_of_no_weapons_in_iraq?mode=PF

Ibid., p. 89
The Book of Disquiet
Original: A civilização consiste em dar a qualquer coisa um nome que lhe não compete, e depois sonhar sobre o resultado. E realmente o nome falso e o sonho verdadeiro criam uma nova realidade. O objecto torna-se realmente outro, porque o tornámos outro. Manufacturamos realidades.

Source: Attributed in posthumous publications, Albert Einstein: The Human Side (1979), p. 66 of the 1981 edition

"Interview with Henri Matisse" by Jacques Guenne, L'Art Vivant (15 September 1925), translated by Jack Flam in Matisse on Art (1995)
1921 - 1940
Context: Slowly I discovered the secret of my art. It consists of a meditation on nature, on the expression of a dream which is always inspired by reality. With more involvement and regularity, I learned to push each study in a certain direction. Little by little the notion that painting is a means of expression asserted itself, and that one can express the same thing in several ways. Exactitude is not truth, Delacroix liked to say.

Wholeness and the Implicate Order (1980)