“Imagination is a very high sort of seeing, which does not come by study, but by the intellect being where and what it sees, by sharing the path, or circuits of things through forms, and so making them translucid to others.”

“You make what you see into a window, and you see what you want through it. You make what you see a sort of a door.”

“A number of abstract ideas, of which we are as a matter of fact unconscious. We do not see them, but we see other things through them.”

“What I’ve observed—the pattern behind what I’ve observed—explains why what happens happens the way it does. It makes the whole process easier to see. Your idea is a possible explanation not of the observations but of a set of speculations, which, if you accepted them along with the explanation, would then only make you start seeing things and half-things where no things are.”

“The seeing of things as they really are — the seeing of a proportion veiled from other eyes (together with the power of expression), is what makes a man an artist. What makes him a great artist is a high fervour of spirit, which produces a superlative, instead of a comparative, clarity of vision.”

“I raised my arms as if in prayer and heard the mutter of response behind me. Then I scattered the dried grains, red and brown and black, and studied the patterns they formed on the stone ledge before Sibbos. This is not such a mystic thing. You see what it is sensible to see, or else you interpret what you see so that the meaning comes out as you want it.”

“But what a feeling can come over a man just from seeing the things he believes in and hopes for symbolized in the concrete form of a man. In something that gives a focus to all the other things he knows to be real. Something that makes unseen things manifest and allows him to come to his hopes and dreams through his outer eye and through the touch and feel of his natural hand.”

“We usually see only the things we are looking for — so much so that we sometimes see them where they are not.”

“We are at the classic-romantic barrier now, where on one side we see a cycle as it appears immediately—and this is an important way of seeing it—and where on the other side we can begin to see it as a mechanic does in terms of underlying form—and this is an important way of seeing things too. These tools for example—this wrench—has a certain romantic beauty to it, but its purpose is always purely classical. It's designed to change the underlying form of the machine.”

“Imagination is a form of seeing”