Quotes about imagination
page 16

Chris Cornell photo

“No, I thing that's the worst f**king thing. I mean, can you imagine having to get up at 4am and sit in a trailer while someone puts makeup on you? Then stand in front of a camera and say the same lines 60 times. I feel sorry for actors and I never want to do it. I stood in front of a camera in Singles and that's about it.”

Chris Cornell (1964–2017) American singer-songwriter, musician

When asked if he ever considered acting as a career ** Kerrang! Magazine, March 1, 1997 http://web.stargate.net/soundgarden/articles/kerr_3-1-97.shtml,
Soundgarden Era

Andreas Schelfhout photo

“.. and since we are now living in the Summer-time, I don't have a trick to imagine me Winter so strongly that I would be able to paint one [a winter-landscape].... and you must have patience until next winter.”

Andreas Schelfhout (1787–1870) Dutch painter, etcher and lithographer

translation from original Dutch: Fons Heijnsbroek
(original Dutch, citaat van Schelfhout, uit zijn brief:) ..en daar wij nu in het Zomer leeven zijn heb ik geen truk [truc] van mij de Winter zoo danig voor den geest te halen dat ik in staat zoude zijn er een te kunnen schilderen.. ..en gij zou den gedult moeten nemen tot aanstaande winter.
Quote of Schelfhout in a letter to his client nl:Johannes Immerzeel, June 1832; as cited in 'Andreas Schelfhout Onsterfelijk schoon', Simonis & Buunk 2005 https://www.simonis-buunk.nl/wp-content/uploads/2016/06/catalogus_schelfhout.pdf, p. 17

Henry Adams photo
Francis Escudero photo

“It has been said Mr. President, that while we can only read the prose in the laws we pass, he sees numbers in them, and imagine them in digits.”

Francis Escudero (1969) Filipino politician

2013, Speech: Nomination of Senator Ralph Recto as Senate Pro Tempore

Gerhard Richter photo
John Green photo
Paul Gauguin photo
Thomas Carlyle photo

“For, in fact, I say the degree of vision that dwells in a man is a correct measure of the man. If called to define Shakspeare's faculty, I should say superiority of Intellect, and think I had included all under that. What indeed are faculties? We talk of faculties as if they were distinct, things separable; as if a man had intellect, imagination, fancy, &c., as he has hands, feet and arms. That is a capital error. Then again, we hear of a man's "intellectual nature," and of his "moral nature," as if these again were divisible, and existed apart. Necessities of language do perhaps prescribe such forms of utterance; we must speak, I am aware, in that way, if we are to speak at all. But words ought not to harden into things for us. It seems to me, our apprehension of this matter is, for most part, radically falsified thereby. We ought to know withal, and to keep forever in mind, that these divisions are at bottom but names; that man's spiritual nature, the vital Force which dwells in him, is essentially one and indivisible; that what we call imagination, fancy, understanding, and so forth, are but different figures of the same Power of Insight, all indissolubly connected with each other, physiognomically related; that if we knew one of them, we might know all of them. Morality itself, what we call the moral quality of a man, what is this but another side of the one vital Force whereby he is and works? All that a man does is physiognomical of him. You may see how a man would fight, by the way in which he sings; his courage, or want of courage, is visible in the word he utters, in the opinion he has formed, no less than in the stroke he strikes. He is one; and preaches the same Self abroad in all these ways.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

1840s, Heroes and Hero-Worship (1840), The Hero as Poet

Kodo Sawaki photo

“Since I was a child, I’ve used my imagination to escape from life. At the same time, my imagination has plagued me with both reality-based anxieties as well as anxieties based entirely in the imagination, such as the fear of Hell I was taught to have by the Catholic Church. Paired with a talent for literary composition, a talent that it took me over ten years to refine, I became a writer of horror stories. To my mind, writing is the most important form of human expression, not only artistic writing but also philosophical writing, critical writing, etc. Art as such, especially programmatic music such as operas, seems trivial to me by comparison, however much pleasure we may get from it. Writing is the most effective way to express and confront the full range of the realities of life. I can honestly say that the primary stature I attach to writing is not self-serving. I’ve been captivated to some degree by all forms of creativity and expression—the visual arts, film, design of any sort, and especially music. In college I veered from literature to music for a few years, which is the main reason it took me six years to get an undergraduate degree in liberal arts. I’ve loved music for as long as I can remember. Since my instrument is the guitar, I know every form and style in its history and have written the classical, acoustic, and electric forms of this instrument. I think because I have had such a love and understanding of music do I realize, to my grief, its limitations. Writing is less limited in the consolations it offers to those who have lost a great deal in their lives. And it continues to console until practically everything in a person’s life has been lost. Words and what they express have the best chance of returning the baneful stare of life.”

Thomas Ligotti (1953) American horror author

Wonderbook Interview with Thomas Ligotti http://wonderbooknow.com/interviews/thomas-ligotti/

Jay Samit photo

“If you can imagine a solution, you can make it happen.”

Jay Samit (1961) American businessman

Source: Disrupt You! (2015), p.104

“Equilibrium is a figment of the human imagination.”

Kenneth E. Boulding (1910–1993) British-American economist

Source: 1970s, Toward a General Social Science, 1974, p. 29

Geert Wilders photo
E. W. Howe photo

“When a man is trying to sell you something, don't imagine he is that polite all the time.”

E. W. Howe (1853–1937) Novelist, magazine and newspaper editor

Country Town Sayings (1911), p34.

Winston S. Churchill photo
Bill Fagerbakke photo

“I am essentially a child at heart, and that's something that's never lost on me. It starts with the liberation of the writer's imagination. When you have that kind of really inspired material in your hands, if you can't enjoy it… there are some curmudgeonly people I guess who don't care for this stuff, but it's such a gas. It's so much fun.”

Bill Fagerbakke (1957) American actor

Bill Fagerbakke interview: SpongeBob, Starship Troopers, Statham http://www.denofgeek.com/movies/bill-fagerbakke/36493/bill-fagerbakke-interview-spongebob-starship-troopers-statham (August 8, 2015)

John Irving photo
Carl Sagan photo
Rosie O'Donnell photo

“You know, you can imagine in China it's like: "Ching chong, ching chong chong, Danny DeVito, ching chong chong chong, drunk, 'The View,' ching chong.”

Rosie O'Donnell (1962) American comedienne, television personality and actress

['Ching-chong' joke spreads ignorance, L.A., Chung, http://www.mercurynews.com/search/ci_4853200, San Jose Mercury News, 16 December 2006, http://www.webcitation.org/5u6kwJxTz, 2010-11-09, 2010-11-09]
O'Donnell using the pejorative term ching chong to describe Danny Devito on The View.

Henry Temple, 3rd Viscount Palmerston photo

“I must make a protest against the sort of exaggerations in which the noble Lord has indulged. He has described the railway launching 2,000 or 3,000 ruffians upon some quiet neighbourhood in a manner that might lead one to imagine the train conveyed a set of banditti to plunder, rack, and ravage the country, murder the people, burn the houses, and commit every sort of atrocity…they may conceive it to be a very harmless pursuit…Some people look upon it as an exhibition of manly courage, characteristic of the people of this country. I saw the other day a long extract from a French newspaper describing this fight as a type of the national character for endurance, patience under suffering of indomitable perseverance, in determined effort, and holding it up as a specimen of the manly and admirable qualities of the British race…I do not perceive why any number of persons, say 1,000 if you please, who assemble to witness a prize fight, are in their own persons more guilty of a breach of the peace than an equal number of persons who assemble to witness a balloon ascent. There they stand; there is no breach of the peace; they go to see a sight, and when that sight is over they return, and no injury is done to any one. They only stand or sit on the grass to witness the performance, and as to the danger to those who perform themselves, I imagine the danger to life in the case of those who go up in balloons is certainly greater than that of two combatants who merely hit each other as hard as they can, but inflict no permanent injury upon each other.”

Henry Temple, 3rd Viscount Palmerston (1784–1865) British politician

Speech http://hansard.millbanksystems.com/commons/1860/may/15/papers-moved-for-1 in the House of Commons (15 May 1860) on the illegal prize-fight between Tom Sayers and J. C. Heenan. The Radical MP Colonel Dickson replied that although "He sat on a different side of the House from the noble Lord, and did not often find himself in the same lobby with him on a division; but he would say for the noble Viscount, that if he had one attribute more than another which endeared him to his countrymen it was his thoroughly English character and his love for every manly sport". Palmerston was rumoured to have attended the fight and he contributed the first guinea to the collection for Sayers in the House of Commons.
1860s

George W. Bush photo
Leszek Kolakowski photo
Oliver Goldsmith photo

“The great attraction of cultural anthropology in the past was precisely that it seemed to offer such a richness of independent natural experiments; but unfortunately it is now clear that there has been a great deal of historical continuity and exchange among those "independent" experiments, most of which have felt the strong effect of contact with societies organized as modern states. More important, there has never been a human society with unlimited resources, of three sexes, or the power to read other people's minds, or to be transported great distances at the speed of light. How then are we to know the effect on human social organization and history of the need to scrabble for a living, or of the existence of males and females, or of the power to make our tongues drop manna and so to make the worse appear the better reason? A solution to the epistemological impotence of social theory has been to create a literature of imagination and logic in which the consequences of radical alterations in the conditions of human existence are deduced. It is the literature of science fiction. … [S]cience fiction is the laboratory in which extraordinary social conditions, never possible in actuality, are used to illumine the social and historical norm. … Science fiction stories are the Gedanken experiments of social science.”

Richard C. Lewontin (1929) American evolutionary biologist

" The Last of the Nasties? http://www.nybooks.com/articles/archives/1996/feb/29/the-last-of-the-nasties," The New York Review of Books, 29 February 1996;
Review of The Lost World by Michael Crichton

Roberto Clemente photo
John Byrne photo

“Imagine, 24 pages of superhero adventures produced by the same writer and artist every month!! How did they do it?”

John Byrne (1950) American author and artist of comic books

What? By being professional about it? But that's too much like work!
2008
http://www.byrnerobotics.com/forum/forum_posts.asp?TID=26500&PN=1&totPosts=7
Monthly comics and creator's ability to keep on schedule

Russell Brand photo
Robert G. Ingersoll photo

“Secondly, the student is trained to accept historical mis-statements on the authority of the book. If education is a pre- paration for adult life, he learns first to accept without question, and later to make his own contribution to the creation of historical fallacies, and still later to perpetuate what he has learnt. In this way, ignorant authors are leading innocent students to hysterical conclusions. The process of the writers' mind provides excellent material for a manual on logical fallacies. Thirdly, the student is told nothing about the relationship between evidence and truth. The truth is what the book ordains and the teacher repeats. No source is cited. No proof is offered. No argument is presented. The authors play a dangerous game of winks and nods and faints and gestures with evidence. The art is taught well through precept and example. The student grows into a young man eager to deal in assumptions but inapt in handling inquiries. Those who become historians produce narratives patterned on the textbooks on which they were brought up. Fourthly, the student is compelled to face a galling situation in his later years when he comes to realize that what he had learnt at school and college was not the truth. Imagine a graduate of one of our best colleges at the start of his studies in history in a university in Europe. Every lecture he attends and every book he reads drive him mad with exasperation, anger and frustration. He makes several grim discoveries. Most of the "facts", interpretations and theories on which he had been fostered in Pakistan now turn out to have been a fata morgana, an extravaganza of fantasies and reveries, myths and visions, whims and utopias, chimeras and fantasies.”

Khursheed Kamal Aziz (1927–2009) historian

The Murder of History, critique of history textbooks used in Pakistan, 1993

Roberto Mangabeira Unger photo

“Here, then, is another way to understand the intentions of the social theoretical project that this critical analysis of the contemporary situation of social thought prepares and suggests. Philosophical disputes about the social ideal have increasingly come to turn on an unresolved ambivalence toward the naturalistic premise, an incomplete rebellion against it. The visionary imagination of our age has been both liberated and disoriented. It has been liberated by its discovery that social worlds are contingent in a more radical sense than people had supposed; liberated to disengage the ideas of community and objectivity from any fixed structure of dependence and dominion or even from any determinate shape of social life. It has also, however, been disoriented by a demoralizing oscillation between a trumped-up sanctification of existing society and would-be utopian flight that finds in the land of its fantasies the inverted image of the circumstance it had wanted to escape; disoriented by the failure to spell out what the rejection of the naturalistic view means for the vision of a regenerate society. The social theory we need must vindicate a modernist—that is to say, a nonnaturalistic—view of community and objectivity, and it must do so by connecting the imagination of the ideal with the insight into transformation.”

Roberto Mangabeira Unger (1947) Brazilian philosopher and politician

Source: Social Theoryː Its Situation and Its Task (1987), p. 47

Rand Paul photo
Baltasar Gracián photo

“Imagination travels faster than sight. Deceit comes in through the ears, but usually leaves through the eyes.”

Adelántase más la imaginación que la vista, y el engaño, que entra de ordinario por el oído, viene a salir por los ojos.
Maxim 282 (p. 159)
The Art of Worldly Wisdom (1647)

Alan Hirsch photo
Juan Cole photo
Francis Crick photo
Charles Lyell photo

“Every fall I imagine once again that something wonderful will happen at a party. This is like imagining that the telephone book will prove to be a wonderful novel.”

John Leonard (1939–2008) American critic, writer, and commentator

"Perfect Knowledge in Final Things" (p. 108)
Private Lives in the Imperial City (1979)

Jessica Lange photo
Anna Sui photo

“The sexiest thing about a bikini is that it leaves something to the imagination, which is the best part.”

Anna Sui (1964) American fashion designer

via WeConnectFashion. "USA Swimwear Market Research Report 2015". WeConnectFashion (2015). https://www.weconnectfashion.com/articles/usa-swimwear-market-research-report-2015

Letitia Elizabeth Landon photo
Roberto Mangabeira Unger photo
Yehuda Ashlag photo
Denise Richards photo
Nader Shah photo

“When the Shah departed towards the close of the day, a false rumour was spread through the town that he had been severely wounded by a shot from a matchlock, and thus were sown the seeds from which murder and rapine were to spring. The bad characters within the town collected in great bodies, and, without distinction, commenced the work of plunder and destruction…. On the morning of the 11th an order went forth from the Persian Emperor for the slaughter of the inhabitants. The result may be imagined; one moment seemed to have sufficed for universal destruction. The Chandni chauk, the fruit market, the Daribah bazaar, and the buildings around the Masjid-i Jama’ were set fire to and reduced to ashes. The inhabitants, one and all, were slaughtered. Here and there some opposition was offered, but in most places people were butchered unresistingly. The Persians laid violent hands on everything and everybody; cloth, jewels, dishes of gold and silver, were acceptable spoil…. But to return to the miserable inhabitants. The massacre lasted half the day, when the Persian Emperor ordered Haji Fulad Khan, the kotwal, to proceed through the streets accompanied by a body of Persian nasakchis, and proclaim an order for the soldiers to resist from carnage. By degrees the violence of the flames subsided, but the bloodshed, the devastation, and the ruin of families were irreparable. For a long time the streets remained strewn with corpses, as the walks of a garden with dead flowers and leaves. The town was reduced to ashes, and had the appearance of a plain consumed with fire. All the regal jewels and property and the contents of the treasury were seized by the Persian conqueror in the citadel. He thus became possessed of treasure to the amount of sixty lacs of rupees and several thousand ashrafis… plate of gold to the value of one kror of rupees, and the jewels, many of which were unrivalled in beauty by any in the world, were valued at about fifty krors. The peacock throne alone, constructed at great pains in the reign of Shah Jahan, had cost one kror of rupees. Elephants, horses, and precious stuffs, whatever pleased. the conqueror’s eye, more indeed than can be enumerated, became his spoil. In short, the accumulated wealth of 348 years changed masters in a moment.”

Nader Shah (1688–1747) ruled as Shah of Iran

About Shah’s sack of Delhi, Tazrikha by Anand Ram Mukhlis. A history of Nâdir Shah’s invasion of India. In The History of India as Told by its own Historians. The Posthumous Papers of the Late Sir H. M. Elliot. John Dowson, ed. 1st ed. 1867. 2nd ed., Calcutta: Susil Gupta, 1956, vol. 22, pp. 74-98. https://www.infinityfoundation.com/mandala/h_es/h_es_tazrikha_frameset.htm

Colin Wilson photo
David Brin photo

“Anyone who loves nature, as I do, cries out at the havoc being spread by humans, all over the globe. The pressures of city life can be appalling, as are the moral ambiguities that plague us, both at home and via yammering media. The temptation to seek uncomplicated certainty sends some rushing off to ashrams and crystal therapy, while many dive into the shelter of fundamentalism, and other folk yearn for better, “simpler” times. Certain popular writers urgently prescribe returning to ancient, nobler ways.
Ancient, nobler ways. It is a lovely image... and pretty much a lie. John Perlin, in his book A Forest Journey, tells how each prior culture, from tribal to pastoral to urban, wreaked calamities upon its own people and environment. I have been to Easter Island and seen the desert its native peoples wrought there. The greater harm we do today is due to our vast power and numbers, not something intrinsically vile about modern humankind.
Technology produces more food and comfort and lets fewer babies die. “Returning to older ways” would restore some balance all right, but entail a holocaust of untold proportion, followed by resumption of a kind of grinding misery never experienced by those who now wistfully toss off medieval fantasies and neolithic romances. A way of life that was nasty, brutish, and nearly always catastrophic for women.
That is not to say the pastoral image doesn’t offer hope. By extolling nature and a lifestyle closer to the Earth, some writers may be helping to create the very sort of wisdom they imagine to have existed in the past. Someday, truly idyllic pastoral cultures may be deliberately designed with the goal of providing placid and just happiness for all, while retaining enough technology to keep existence decent.
But to get there the path lies forward, not by diving into a dark, dank, miserable past. There is but one path to the gracious, ecologically sound, serene pastoralism sought by so many. That route passes, ironically, through successful consummation of this, our first and last chance, our scientific age.”

Afterword (p. 563)
Glory Season (1993)

Eugène Boudin photo

“Imagine an immense plain.... in the middle, a small Gothic chapel surrounded by trees.... around that a hundred tents made of white canvas.... in open-air kitchens huge pots of boiling soup, incredible ragouts..”

Eugène Boudin (1824–1898) French painter

Quote of Boudin in a letter to his brother, 1857; as cited in the descritption of 'The Pardon of Saint-Anne-La-Palud' by the Met-museum https://www.metmuseum.org/art/collection/search/744059]
Boudin described in his typical way the scene of the sacred procession of the Pardon of Saint-Anne-la-Palud, a major religious festival in Brittany, that he witnessed in 1857
1850s - 1870s

Halldór Laxness photo
Francisco De Goya photo

“I haven't heard them [n. d. r. he's talking about some Spanish popular folk songs] and probably never shall because I no longer go to the places where one could hear them, for I have got into my head that I should maintain a certain presence and air for dignity.... that a man should have, and you can imagine that I'm not very happy about it.”

Francisco De Goya (1746–1828) Spanish painter and printmaker (1746–1828)

letter 206, c. 1787; in Goya, A life in Letters, edited and introduced by Sarah Simmons; transl. Philip Troutman, London, Pimlico, 2004
Goya understands that the social role he has reached (he is royal painter from 1789) will prevent him from attending places where people sing http://letteraturaartistica.blogspot.nl/2015/09/goya-life-in-letters-edited-and.html
1780s

Jeffrey Tucker photo
Gary Gygax photo

“The essence of a role-playing game is that it is a group, cooperative experience. There is no winning or losing, but rather the value is in the experience of imagining yourself as a character in whatever genre you’re involved in, whether it’s a fantasy game, the Wild West, secret agents or whatever else. You get to sort of vicariously experience those things.”

Gary Gygax (1938–2008) American writer and game designer

Interview in 2006, as quoted in "Gary Gygax, Game Pioneer, Dies at 69" in The New York Times (5 March 2008) http://www.nytimes.com/2008/03/05/arts/05gygax.html?_r=1&ref=arts&oref=slogin

“As an analogy one can imagine an intelligent amoeba with a good memory. As time progresses the amoeba is constantly splitting, each time the resulting amoebas having the same memories as the parent. Our amoeba hence does not have a life line, but a life tree.”

Hugh Everett (1930–1982) American physicist, author of the many-worlds interpretation of quantum mechanics

illustrating the branching of individuals in many worlds each time an observation is performed, in an early draft of his doctoral dissertation (1950s). Accessible at Read original documents http://www.pbs.org/wgbh/nova/manyworlds/original.html of Nova's Parallel worlds documentary of Hugh Everett's work.

Damian Pettigrew photo
Oscar Niemeyer photo
Roger Ebert photo
Edmund White photo

“It seemed strange to me that someone who painted big, scary abstractions should have been so commonsensical in her literary tastes, though later I would discover that twelve-tone composers read Keats just as experimental poets listened to Glenn Miller — few people are avant-garde outside their own domain.I suppose that as Midwesterners, the children of chemical engineers and homemakers, we experienced the arts as so foreign, even so preposterously unreasonable, that once we’d decided to embrace them we did so with lots of conviction and little discrimination. Surely it was no accident that T. S. Eliot and Ezra Pound, the two great poetic synthesists of our day, the very men who had ransacked all of world culture and could refer in the same poem to the Buddha and to Sophocles or to Confucius and to Jefferson — it was no accident that they were both from the heartland. Public-library intellectuals, magpies of knowledge, like most autodidacts we were incapable of evaluating our sources. As a teen-ager, I tried to write verse like Milton’s; later, I wanted to write novels like Nabokov’s. In a novel I wrote in college, I imitated Evelyn Waugh. If someone had said to me, "But do you, the graceless son of a Cincinnati broker of chemical equipment, do you seriously imagine that you can just write a Renaissance Christian epic or something in the style of a Cambridge-educated Russian aristocrat or of the spokesman of the Bright Young Things of London circa 1925?"”

Edmund White (1940) American novelist and LGBT essayist

if someone had spoken like this to me, I wouldn’t even have understood his point.
My Women.The New Yorker https://archive.is/20121204150452/www.newyorker.com/fact/content/articles/050613fa_fact 6 June 2005
Articles and Interviews

William Collins photo

“The Phantom Menace is not a masterpiece, but it's an example of how imagination, craftsmanship, and technological bravura can fashion superior entertainment out of something that is far from flawless.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/movies/s/sw99.html of Star Wars Episode I: The Phantom Menace (1999).
Three-and-a-half star reviews

Russell Brand photo

“I have recently begun to look for people’s “vicar” nature. It is a technique I happened upon quite by chance, but I think it has a precedent in eastern mysticism. In Buddhism they talk of each of us having a “Buddha nature,” a divine self, the aspect of our total persona that is beyond our materialism and individualism. Well, that’s all well and good. What I’m into is people’s “vicar nature”—what a person would be like if they were a vicar. You can do it on anyone; it doesn’t have to be a vicar either if that isn’t your bag, it could be a rabbi or an imam or whatever. Simply think of someone you know, like, I dunno, Hulk Hogan, and imagine them as a devotional being. When I do, it helps me to see where their material persona intersects with a well-meaning spiritual aspect. Reverend Hogan would be, I suspect, a real fire-and-brimstone guy, spasming and retching in the pulpit but easily moved to tears, perhaps by the plight of a childless couple in his parish. Anyway, let’s not get carried away, it’s just a tool to help me see where a person’s essential self might dwell. Oddly, it’s really easy to do with atheists. I can imagine Richard Dawkins as a vicar in an instant, Calvinist and insistent. Dogmatic and determined, having a stern hearthside chat with a seventeen-year-old boy on the cusp of coming out. My point is that in spite of the lack of any theological title, Bobby Roth is like a priest.”

Revolution (2014)

Fritz Todt photo

“I could not imagine that we should make much of an effort to preserve remainders of natural beauty in conquered Poland.”

Fritz Todt (1891–1942) German engineer and senior Nazi figure

Quoted in "Technologies of Landscape: From Reaping to Recycling" - by David E. Nye - Nature - 2000 - Page 227.

Enoch Powell photo

“Now, at present Britain has no V. A. T., and the questions whether this new tax should be introduced, how it should be levied, and what should be its scope, would be matters of debate in the country and in Parliament. The essence of parliamentary democracy lies in the power to debate and impose taxation: it is the vital principle of the British House of Commons, from which all other aspects of its sovereignty ultimately derive. With Britain in the community, one important element of taxation would be taken automatically, necessarily and permanently out of the hands of the House of Commons…Those matters which sovereign parliaments debate and decide must be debated and decided not by the British House of Commons but in some other place, and by some other body, and debated and decided once for the whole Community…it is a fact that the British Parliament and its paramount authority occupies a position in relation to the British nation which no other elective assembly in Europe possesses. Take parliament out of the history of England and that history itself becomes meaningless. Whole lifetimes of study cannot exhaust the reasons why this fact has come to be, but fact it is, so that the British nation could not imagine itself except with and through its parliament. Consequently the sovereignty of our parliament is something other for us than what your assemblies are for you. What is equally significant, your assemblies, unlike the British Parliament, are the creation of deliberate political acts, and most of recent political acts. The notion that a new sovereign body can be created is therefore as familiar to you as it is repugnant, not to say unimaginable, to us. This deliberate, and recent, creation of sovereign assemblies on the continent is in turn an aspect of the fact that the continent is familiar, and familiar in the recent past, with the creation of nation states themselves. Four of the six members of the Community came into existence as such no more than a century or a century and a half ago – within the memory of two lifetimes.”

Enoch Powell (1912–1998) British politician

Speech in Lyons (12 February 1971), from The Common Market: The Case Against (Elliot Right Way Books, 1971), pp. 65-68.
1970s

Bernhard Riemann photo
Frederick II of Prussia photo

“Neither antiquity nor any other nation has imagined a more atrocious and blasphemous absurdity than that of eating God. — This is how Christians treat the autocrat of the universe.”

Frederick II of Prussia (1712–1786) king of Prussia

Letters of Voltaire and Frederick the Great (New York: Brentano's, 1927), trans. Richard Aldington, letter 215 from Frederick to Voltaire (1776-03-19)

Robert Grosseteste photo
Tommy Douglas photo

“Giving ourselves permission to imagine allows us to access a huge resource of cognitive capacity that we often ignore.”

Tim Hurson (1946) Creativity theorist, author and speaker

Think Better: An Innovator's Guide to Productive Thinking

John Wesley photo

“As to the word itself, it is generally allowed to be of Greek extraction. But whence the Greek word, enthousiasmos, is derived, none has yet been able to show. Some have endeavoured to derive it from en theoi, in God; because all enthusiasm has reference to him. … It is not improbable, that one reason why this uncouth word has been retained in so many languages was, because men were not better agreed concerning the meaning than concerning the derivation of it. They therefore adopted the Greek word, because they did not understand it: they did not translate it into their own tongues, because they knew not how to translate it; it having been always a word of a loose, uncertain sense, to which no determinate meaning was affixed.
It is not, therefore, at all surprising, that it is so variously taken at this day; different persons understanding it in different senses, quite inconsistent with each other. Some take it in a good sense, for a divine impulse or impression, superior to all the natural faculties, and suspending, for the time, either in whole or in part, both the reason and the outward senses. In this meaning of the word, both the Prophets of old, and the Apostles, were proper enthusiasts; being, at divers times, so filled with the Spirit, and so influenced by Him who dwelt in their hearts, that the exercise of their own reason, their senses, and all their natural faculties, being suspended, they were wholly actuated by the power of God, and “spake” only “as they were moved by the Holy Ghost.”
Others take the word in an indifferent sense, such as is neither morally good nor evil: thus they speak of the enthusiasm of the poets; of Homer and Virgil in particular. And this a late eminent writer extends so far as to assert, there is no man excellent in his profession, whatsoever it be, who has not in his temper a strong tincture of enthusiasm. By enthusiasm these appear to understand, all uncommon vigour of thought, a peculiar fervour of spirit, a vivacity and strength not to be found in common men; elevating the soul to greater and higher things than cool reason could have attained.
But neither of these is the sense wherein the word “enthusiasm” is most usually understood. The generality of men, if no farther agreed, at least agree thus far concerning it, that it is something evil: and this is plainly the sentiment of all those who call the religion of the heart “enthusiasm.” Accordingly, I shall take it in the following pages, as an evil; a misfortune, if not a fault. As to the nature of enthusiasm, it is, undoubtedly a disorder of the mind; and such a disorder as greatly hinders the exercise of reason. Nay, sometimes it wholly sets it aside: it not only dims but shuts the eyes of the understanding. It may, therefore, well be accounted a species of madness; of madness rather than of folly: seeing a fool is properly one who draws wrong conclusions from right premisses; whereas a madman draws right conclusions, but from wrong premisses. And so does an enthusiast suppose his premisses true, and his conclusions would necessarily follow. But here lies his mistake: his premisses are false. He imagines himself to be what he is not: and therefore, setting out wrong, the farther he goes, the more he wanders out of the way.”

John Wesley (1703–1791) Christian theologian

Sermon 37 "The Nature of Enthusiasm"
Sermons on Several Occasions (1771)

J.M.W. Turner photo

“It is necessary to mark the greater from the lesser truth: namely the larger and more liberal idea of nature from the comparatively narrow and confined; namely that which addresses itself to the imagination from that which is solely addressed to the eye.”

J.M.W. Turner (1775–1851) British Romantic landscape painter, water-colourist, and printmaker

Quoted in: Eric Shanes (2012) The Life and Masterworks of J.M.W. Turner, p. 23
undated quotes

Paul Graham photo
James D. Watson photo

“I suspect that in the beginning Maurice hoped that Rosy would calm down. Yet mere inspection suggested that she would not easily bend. By choice she did not emphasize her feminine qualities. Though her features were strong, she was not unattractive and might have been quite stunning had she taken even a mild interest in clothes. This she did not. There was never lipstick to contrast with her straight black hair, while at the age of thirty-one her dresses showed all the imagination of English blue-stocking adolescents. So it was quite easy to imagine her the product of an unsatisfied mother who unduly stressed the desirability of professional careers that could save bright girls from marriages to dull men. But this was not the case. Her dedicated austere life could not be thus explained — she was the daughter of a solidly comfortable, erudite banking family.
Clearly Rosy had to go or be put in her place. The former was obviously preferable because, given her belligerent moods, it would be very difficult for Maurice to maintain a dominant position that would allow him to think unhindered about DNA. Not that at times he'd didn't see some reason for her complaints — King's had two combination rooms, one for men, the other for women, certainly a thing of the past. But he was not responsible, and it was no pleasure to bear the cross for the added barb that the women's combination room remained dingily pokey whereas money had been spent to make life agreeable for him and his friends when they had their morning coffee.
Unfortunately, Maurice could not see any decent way to give Rosy the boot. To start with, she had been given to think that she had a position for several years. Also there was no denying that she had a good brain. If she could keep her emotions under control, there was a good chance she could really help him. But merely wishing for relations to improve was taking something of a gamble, for Cal Tech's fabulous chemist Linus Pauling was not subject to the confines of British fair play. Sooner or later Linus, who had just turned fifty, was bound to try for the most important of all scientific prizes. There was no doubt he was interested. … The thought could not be avoided that the best home for a feminist was in another person's lab.”

Description of Rosalind Franklin, whose data and research were actually key factors in determining the structure of DNA, but who died in 1958 of ovarian cancer, before the importance of her work could be widely recognized and acknowledged. In response to these remarks her mother stated "I would rather she were forgotten than remembered in this way." As quoted in "Rosalind Franklin" at Strange Science : The Rocky Road to Modern Paleontology and Biology by Michon Scott http://www.strangescience.net/rfranklin.htm
The Double Helix (1968)

John Ralston Saul photo
Roberto Mangabeira Unger photo
Kate Upton photo

“In my opinion, the national anthem is a symbolic song about our country. It represents honoring the many brave men and women who sacrifice and have sacrificed their lives each and every single day to protect our freedom. Sitting or kneeling down during the national anthem is a disgrace to those people who have served and currently serve our country. Sitting down during the national anthem on September 11th is even more horrific. Protest all you want and use social media all you want. However, during the nearly two minutes when that song is playing, I believe everyone should put their hands on their heart and be proud of our country for we are all truly blessed. Recent history has shown that it is a place where anyone no matter what race or gender has the potential to become President of the United States. We live in the most special place in the world and should be thankful. After the song is over, I would encourage everyone to please use the podium they have, stand up for their beliefs, and make America a better place. The rebuilding of battery park and the freedom tower demonstrates that amazing things can be done in this country when we work together towards a common goal. It is a shame how quickly we have forgotten this as a society. Today we are more divided then ever before. I could never imagine multiple people sitting down during the national anthem on the September 11th anniversary. The lessons of 911 should teach us that if we come together, the world can be a better and more peaceful place #neverforget.”

Kate Upton (1992) American model and actress

Kate Upton on Instagram https://www.instagram.com/p/BKO8_ZGA87r/?taken-by=kateupton&hl=en (September 11, 2016)

H.L. Mencken photo
Arthur C. Clarke photo
Peter Gabriel photo
Gottfried Helnwein photo
John Cage photo
Carole Morin photo

“Imagination is all we have in the end.”

Carole Morin British writer

Spying on Strange Men (2013)

Edmund Burke photo

“When we speak of the commerce with our [American] colonies, fiction lags after truth, invention is unfruitful, and imagination cold and barren.”

Edmund Burke (1729–1797) Anglo-Irish statesman

Works of Edmund Burke Volume ii, p. 116
Second Speech on Conciliation with America (1775)

Letitia Elizabeth Landon photo
Lysander Spooner photo
James A. Michener photo

“The really great writers are people like Emily Brontë who sit in a room and write out of their limited experience and unlimited imagination.”

James A. Michener (1907–1997) American author

As quoted in "The Michener Phenomenon" by Caryn James in The New York Times (8 September 1985)

Auguste Rodin photo

“Then I gathered the éléments of what people call my symbolism. I do not understand anything about long words and theories. But I am willing to be a symbolist, if that defines the ideas that Michael Angelo gave me, namely that the essence of sculpture is the modelling, the general scheme which alone enables us to render the intensity, the supple variety of movement and character. If we can imagine the thought of God in creating the world, He thought first of the construction, which is the sole principle of nature, of living things and perhaps of the planets. Michael Angelo seems to me rather to derive from Donatello than from the ancients; Raphaël proceeds from them. He understood that an architecture can be built up with the human body, and that, in order to possess volume and harmony, a statue or a group ought to be contained in a cube, a pyramid or some simple figure. Let us look at a Dutch interior and at an interior painted by an artist of the present day. The latter no longer touches us, because it docs not possess the qualities of depth and volume, the science of distances. The artist who paints it does not know how to reproduce a cube. An interior by Van der Meer is a cubic painting. The atmosphere is in it and the exact volume of the objects; the place of these objects has been respected, the modem painter places them, arranges them as models. The Dutchmen did not touch them, but set themselves to render the distances that separated them, that is, the depth. And then, if I go so far as to say that cubic truth, not appearance, is the mistress of things, if I add that the sight of the plains and woods and country views gives me the principle of the plans that I employ on my statues, that I feel cubic truth everywhere, and that plan and volume appear to me as laws of all life and ail beauty, will it be said that I am a symbolist, that I generalise, that I am a metaphysician? It seems to me that I have remained a sculptor and a realist. Unity oppresses and haunts me.”

Auguste Rodin (1840–1917) French sculptor

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 65-67

Alain de Botton photo
Russell Brand photo

“It’s six months since I did the interview with Jeremy Paxman that inspired this book, and British media today is awash with halfhearted condemnations of my observation that voting is pointless and my admission that I have never voted. My assertion that other people oughtn’t vote either was born of the same instinctive rejection of the mantle of appointed social prefect that prevents me from telling teenagers to “Just Say No” to drugs. I cannot confine my patronage to the circuitry of their minuscule wisdom. “People died so you’d have the right to vote.” No, they did not; they died for freedom. In the case where freedom was explicitly attached to the symbol of democratic rights, like female suffrage, I don’t imagine they’d’ve been so willing if they’d known how tokenistic voting was to become. Note too these martyrs did not achieve their ends by participating in a hollow, predefined ritual, the infertile dry hump of gestural democracy; they did it by direct action. Emily Davison, the hero of women’s suffrage, hurled herself in front of the king’s horses; she defied the tyranny that oppressed her and broke the boundaries that contained her. I imagine too that this woman would have had the rebellious perspicacity to understand that the system she was opposing would adjust to incorporate the female vote and deftly render it irrelevant. This woman, who left her job as a teacher to dedicate her life to activism, was imprisoned nine times. She used methods as severe and diverse as arson and hunger-striking to protest and at the time of her death would have been regarded as a terrorist.”

Revolution (2014)