Illusion Art Quotes

What of Art? -It is a malady. --Love? -An Illusion. --Religion? -The fashionable substitute for Belief. --You are a sceptic. -Never! Scepticism is the beginning of Faith. --What are you? -To define is to limit.

In each of us lie good and bad, light and dark, art and pain, choice and regret, cruelty and sacrifice. We’re each of us our own chiaroscuro, our own bit of illusion fighting to emerge into something solid, something real. We’ve got to forgive ourselves that. I must remember to forgive myself. Because there is a lot of grey to work with. No one can live in the light all the time.

Dream delivers us to dream, and there is no end to illusion. Life is like a train of moods like a string of beads, and, as we pass through them, they prove to be many-colored lenses which paint the world their own hue. . . .

Most people are not even aware of their need to conform. They live under the illusion that they follow their own ideas and inclinations, that they are individualists, that they have arrived at their opinions as the result of their own thinking—and that it just happens that their ideas are the same as those of the majority.

But forgiveness...I'll hold on to that fragile slice of hope and keep it close, remembering that in each of us lie good and bad, light and dark, art and pain, choice and regret, cruelty and sacrifice. We're each of us our own...bit of illusion fighting to emerge into something solid, something real. We've got to forgive ourselves that. I must remember to forgive myself. Because there's an awful lot of gray to work with. No one can live in the light all the time.

And as much as I’d like to believe there’s a truth beyond illusion, I’ve come to believe that there’s no truth beyond illusion. Because, between ‘reality’ on the one hand, and the point where the mind strikes reality, there’s a middle zone, a rainbow edge where beauty comes into being, where two very different surfaces mingle and blur to provide what life does not: and this is the space where all art exists, and all magic.

The public wants work which flatters its illusions.

Friendship was another illusion like love, though it did not reach the same mad heights. People pretended that they were friends, when the fact was they were brought together by force of circumstances.

Your goodness must have some edge to it -- else it is none.

Shapeshifting requires the ability to transcend your attachments, in particular your ego attachments to identity and who you are. If you can get over your attachment to labeling yourself and your cherishing of your identity, you can be virtually anybody. You can slip in and out of different shells, even different animal forms or deity forms.

Every day is a masterpiece, even if it crushes you.

Irony and cynicism were just what the U.S. hypocrisy of the fifties and sixties called for. That’s what made the early postmodernists great artists. The great thing about irony is that it splits things apart, gets up above them so we can see the flaws and hypocrisies and duplicates. The virtuous always triumph? Ward Cleaver is the prototypical fifties father? "Sure." Sarcasm, parody, absurdism and irony are great ways to strip off stuff’s mask and show the unpleasant reality behind it. The problem is that once the rules of art are debunked, and once the unpleasant realities the irony diagnoses are revealed and diagnosed, "then" what do we do? Irony’s useful for debunking illusions, but most of the illusion-debunking in the U.S. has now been done and redone. Once everybody knows that equality of opportunity is bunk and Mike Brady’s bunk and Just Say No is bunk, now what do we do? All we seem to want to do is keep ridiculing the stuff. Postmodern irony and cynicism’s become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what’s wrong, because they’ll look sentimental and naive to all the weary ironists. Irony’s gone from liberating to enslaving. There’s some great essay somewhere that has a line about irony being the song of the prisoner who’s come to love his cage.

To know yourself, you must sacrifice the illusion that you already do.

The greatest obstacle to discovery is not ignorance—it is the illusion of knowledge. —Daniel J. Boorstin

Perhaps, says the genius, music doesn't change us that much, nor does great art change us. Instead, it reminds us of who, despite all our claims or denials, we've always known we were and are destined to remain. It reminds us of the mileposts we've buried and hidden and then lost, of the people and things that mattered despite our lies, despite the years. Music is no more than the sound of our regrets put to a cadence that stirs the illusion of pleasure and hope. It's the surest reminder that we're here for a very short while and that we've neglected or cheated or, worse yet, failed to live our lives. Music is the unlived life. You've lived the wrong life, my friend, and almost defaced the one you were given to live.

Time is an illusion, timing is an art.

... all life rests on appearance, art, illusion, optics, the need for perspective and for error...

Anyone who can handle a needle convincingly can make us see a thread which is not there.

It took me years to learn to sit at my desk for more than two minutes at a time, to put up with the solitude and the terror of failure, and the godawful silence and the white paper. And now that I can take it . . . now that I can finally do it . . . I'm really raring to go. I was in my study writing. I was learning how to go down into myself and salvage bits and pieces of the past. I was learning how to sneak up on the unconscious and how to catch my seemingly random thoughts and fantasies. By closing me out of his world, Bennett had opened all sorts of worlds inside my own head. Gradually I began to realize that none of the subjects I wrote poems about engaged my deepest feelings, that there was a great chasm between what I cared about and what I wrote about. Why? What was I afraid of? Myself, most of all, it seemed. "Freedom is an illusion," Bennett would have said and, in a way, I too would have agreed. Sanity, moderation, hard work, stability . . . I believed in them too. But what was that other voice inside of me which kept urging me on toward zipless fucks, and speeding cars and endless wet kisses and guts full of danger? What was that other voice which kept calling me coward! and egging me on to burn my bridges, to swallow the poison in one gulp instead of drop by drop, to go down into the bottom of my fear and see if I could pull myself up? Was it a voice? Or was it a thump? Something even more primitive than speech. A kind of pounding in my gut which I had nicknamed my "hunger-thump." It was as if my stomach thought of itself as a heart. And no matter how I filled it—with men, with books, with food—it refused to be still. Unfillable—that's what I was. Nymphomania of the brain. Starvation of the heart.

Art has to be a kind of confession. I don’t mean a true confession in the sense of that dreary magazine. The effort it seems to me, is: if you can examine and face your life, you can discover the terms with which you are connected to other lives, and they can discover them, too — the terms with which they are connected to other people. This has happened to every one of us, I’m sure. You read something which you thought only happened to you, and you discovered it happened 100 years ago to Dostoyevsky. This is a very great liberation for the suffering, struggling person, who always thinks that they are alone. This is why art is important. Art would not be important if life were not important, and life is important. Most of us, no matter what we say, are walking in the dark, whistling in the dark. Nobody knows what is going to happen to them from one moment to the next, or how one will bear it. This is irreducible. And it’s true for everybody. Now, it is true that the nature of society is to create, among its citizens, an illusion of safety; but it is also absolutely true that the safety is always necessarily an illusion. Artists are here to disturb the peace. They have to disturb the peace. Otherwise, chaos.

The basic for any approach to self-transformation is an ever-increasing awareness of reality and the shedding of illusions.

Those who are unhappy clutch at shadows, and to give themselves an enjoyment that truth refuses them, they artfully bring into being all sorts of illusions.

When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination. The sequence of pictures plays directly on our feelings. Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence.

Today, for the mass of humanity, science and technology embody 'miracle, mystery, and authority'. Science promises that the most ancient human fantasies will at last be realized. Sickness and ageing will be abolished; scarcity and poverty will be no more; the species will become immortal. Like Christianity in the past, the modern cult of science lives on the hope of miracles. But to think that science can transform the human lot is to believe in magic. Time retorts to the illusions of humanism with the reality: frail, deranged, undelivered humanity. Even as it enables poverty to be diminished and sickness to be alleviated, science will be used to refine tyranny and perfect the art of war.

When my words are concealed With lies and disguises, truth and beyond Insecurities in the veil of trust Betrayal in bounds of lies It’s just the charm of words darling Giving the illusion of happiness inside misery

We each are artists of the self, creating a collage -- a new and original work of art -- out of scraps and fragments of identifications. The people with whom we identify are, positively or negatively, always important to us. Our feelings toward them are, in some way, always intense.

Certain people make a living from their abilities, such as pilots, plumbers, and lawyers. In other areas, skill is necessary but not critical, as with entrepreneurs and leaders. Finally, chance is the deciding factor in a number of fields, such as in financial markets. Here, the illusion of skill pervades. So, give plumbers due respect and chuckle at successful financial jesters.

Supposing there is no life everlasting. Think what it means if death is really the end of all things. They've given up all for nothing. They've been cheated. They're dupes." Waddington reflected for a little while. "I wonder if it matters what they have aimed at is illusion. Their lives are in themselves beautiful. I have an idea that the only thing which makes it possible to regard this world we live in without disgust is the beauty which now and then men create out of the chaos. The pictures they paint, the music they compose, the books the write, and the lives they lead. Of all these the richest beauty is the beautiful life. That is the perfect work of art.

What people lack in life is not more reality but illusion, fantasy, play.

When I speak of the aspiration towards the beautiful, of the ideal as the ultimate aim of art, which grows from a yearning for that ideal, I am not for a moment suggesting that art should shun the 'dirt' of the world. On the contrary! the artistic image is always a metonym, where one thing is substituted for another, the smaller for the greater. To tell of what is living, the artist uses something dead; to speak of the infinite, he shows the finite. Substitution... the infinite cannot be made into matter, but it is possible to create an illusion of the infinite: the image.

Sic vis pacem para bellum - if you want peace, prepare for war.

Magic is the stunning art of surprising your audience, so that nothing else surprises them.

The Art Magicke has rules. It means I have to teach you all my tricks. All the substitutions, the replications, the illusions. How to read minds and palms and leaves. How to disappear and reappear. "How to saw people in half?" "That too." "Nice.

On social media you can have the illusion of social contact without having to perform the gestures that actually build trust, care, and affection. On social media, stimulation replaces intimacy. There is judgment everywhere and understanding nowhere.

Unfortunately, religion often works to shrink and tame the very wild and mysterious forces that first drew our wonder. In the process of making the inexplicable safe for the masses, the possibilities for real illusion-piercing insight becomes reduced. One might say that they are only available to those who dare to ride the breaking crest of direct life-altering experience.

Do not enter where too much is anticipated. It is the misfortune of the over-celebrated that they cannot measure up to excessive expectations. The actual can never attain the imagined: for to think perfection is easy, but to embody it is most difficult. The imagination weds the wish, and together they always conjure up more than reality can furnish. For however great may be a person's virtues, the will never measure up to what was imagined. When people see themselves cheated in their extravagant anticipations, they turn more quickly to disparagement than to praise. Hope is a great falsifier of the truth; the the intelligence put her right by seeing to it that the fruit is superior to its appetite. You will make a better exit when the actual transcends the imagined, and is more than was expected.

Any relationship with long-term potential has a honeymoon period, however brief, marked by the happy illusion that one's lover might be uniquely perfect. This fool's paradise is sustained by the elaborate deception artfully employed in every courtship: the diplomatic dodging of difficult issues, the careful concealing of unflattering flaws, and the strategic stressing of charming virtues. But as trust increases and each person grows weary of maintaining this initial beguilement, the blissfully blurry lens through which the other is perceived eventually refocuses to a clearer picture.

Reason is the enemy of all greatness: reason is the enemy of nature: nature is great, reason is small. I mean that it will be more or less difficult for a man to be great the more he is governed by reason, that few can be great (and in art and poetry perhaps no one) unless they are governed by illusions.

Let me explain why. "Perfection" is man's ultimate illusion. It simply doesn't exist in the universe. There is no perfection. It's really the world's greatest con game; it promises riches and delivers misery. The harder you strive for perfection, the worse your disappointment will become because it's only an abstraction, a concept that doesn't fit reality. Everything can be improved if you look at it closely and critically enough—every person, every idea, every work of art, every experience, everything. So if you are a perfectionist, you are guaranteed to be a loser in whatever you do.

And as much as I’d like to believe there’s a truth beyond illusion, I’ve come to believe that there’s no truth beyond illusion. Because, between ‘reality’ on the one hand, and the point where the mind strikes reality, there’s a middle zone, a rainbow edge where beauty comes into being, where two very different surfaces mingle and blur to provide what life does not: and this is the space where all art exists, and all magic.And—I would argue as well—all love. Or, perhaps more accurately, this middle zone illustrates the fundamental discrepancy of love. Viewed close: a freckled hand against a black coat, an origami frog tipped over on its side. Step away, and the illusion snaps in again: life-more-than-life, never-dying

In this sense the Dionysian man resembles Hamlet: both have once looked truly into the essence of things, they have gained knowledge, and nausea inhibits action; for their action could not change anything in the eternal nature of things; they feel it to be ridiculous or humiliating that they should be asked to set right a world that is out of joint. Knowledge kills action; action requires the veils of illusion: that is the doctrine of Hamlet, not that cheap wisdom of Jack the Dreamer who reflects too much and, as it were, from an excess of possibilities does not get around to action. Not reflection, no--true knowledge, an insight into the horrible truth, outweighs any motive for action, both in Hamlet and in the Dionysian man. Now no comfort avails any more; longing transcends a world after death, even the gods; existence is negated along with its glittering reflection in the gods or in an immortal beyond. Conscious of the truth he has once seen, man now sees everywhere only the horror or absurdity of existence; now he understands what is symbolic in Ophelia's fate; now he understands the wisdom of the sylvan god, Silenus: he is nauseated. Here, when the danger to his will is greatest, art approaches as a saving sorceress, expert at healing. She alone knows how to turn these nauseous thoughts about the horror or absurdity of existence into notions with which one can live: these are the sublime as the artistic taming of the horrible, and the comic as the artistic discharge of the nausea of absurdity. The satyr chorus of the dithyramb is the saving deed of Greek art; faced with the intermediary world of these Dionysian companions, the feelings described here exhausted themselves.

Making reality real is art's responsibility. It is a practical assignment, then, a self-assignment: to achieve, by a cultivated sensitivity for observing life, a capacity for receiving impressions, a lonely, unremitting, unaided, unaidable vision, and transferring this vision without distortion to it onto the pages of a novel, where, if the reader is so persuaded, it will turn into the reader's illusion.

Complexity is not an aesthetic criterion. It is a quality associated only with division and organization of labor.

Silence is the warrior’s art — and meditation is his sword. With it, you’ll cut through your illusions. But understand this: the sword’s usefulness depends upon the swordsman. If you don’t know how to use the weapon properly, it can become a dangerous, deluding, or useless tool. Meditation can initially help you to relax. You may put your ‘sword’ on display, proudly show it to friends. The gleam of this sword distracts many meditators until they abandon it to seek other esoteric techniques.

If one destroyed in museums and libraries, if one hurled down on the flagstones before the churches all the works and all the monuments of art that religions have inspired, what would remain of the great dreams of humanity? To give to men that portion of hope and illusion without which they cannot live, such is the reason for the existence of gods, heroes, and poets. During fifty years science appeared to undertake this task. But science has been compromised in hearts hungering after the ideal, because it does not dare to be lavish enough of promises, because it cannot lie

Art and art only, can make archaeology beautiful; and the theatric art can use it most directly and most vividly, for it can combine in one exquisite presentation the illusion of actual life with the wonder of the unreal world.

Staying home is an ecological imperative, an ethical imperative. It is also a joyful option. It is the practice of oikonomia as the art of living. It is earth democracy in action, cultivating and expanding the freedoms of all beings.

I wonder why looking at that causes sleepiness... Maybe it's the illusion-type magic that Spriggans are good at or something.

The telling and hearing of stories is a bonding ritual that breaks through illusions of separateness and activates a deep sense of our collective interdependence.

There is no reality without interpretation; just as there is no innocent eye, there is no innocent ear.

I pastiche, I quote, I lie. Fake, forge, forage, fabricate, copy, borrow, transform, steal. I illusion. I’m a genuine deceiver, a shy sham artist.

Illusory universality is the universality of the art of the culture industry, it is the universality of the homogeneous same, an art which no longer even promises happiness but only provides easy amusement as relief from labour.

Among the many forms of alienation, the most frequent one is alienation in language. If I express a feeling with a word, let us say, if I say "I love you," the word is meant to be an indication of the reality which exists within myself, the power of my loving. The word "love" is meant to be a symbol of the fact love, but as soon as it is spoken it tends to assume a life of its own, it becomes a reality. I am under the illusion that the saying of the word is the equivalent of the experience, and soon I say the word and feel nothing, except the thought of love which the word expresses. The alienation of language shows the whole complexity of alienation. Language is one of the most precious human achievements; to avoid alienation by not speaking would be foolish -- yet one must be always aware of the danger of the spoken word, that it threatens to substitute itself for the living experience. The same holds true for all other achievements of man; ideas, art, any kind of man-made objects. They are man's creations; they are valuable aids for life, yet each one of them is also a trap, a temptation to confuse life with things, experience with artifacts, feeling with surrender and submission.

At times like this you desperately need Art. You seek to reconnect with your spiritual illusions, and you wish fervently that something might rescue you from your biological destiny, so that all poetry and grandeur will not be cast out from the world

To use the enemy's weapon is to play the enemy's game...speak the truth and hear the truth.

Creativity thrives where its roots are crowded.

The artist, no less than the writer, needs a vocabulary before he can embark on a "copy" of reality.

It is the power of expectation rather than the power of conceptual knowledge that molds what we see in life not less than in art.

Magic is not just for the entertainment, but to inspire people to be creative enough with their lives.

Inside each of us resides the truth,” I began, “the absolute truth. But sometimes the truth is hidden in a hall of mirrors. Sometimes we believe we are viewing the real thing, when in fact we are viewing a facsimile, a distortion. As I listen to this trial, I am reminded of the climactic scene of a James Bond film, The Man with the Golden Gun. James Bond escaped his hall of mirrors by breaking the glass, shattering the illusions, until only the true villain stood before him. We, too, must shatter the mirrors. We must look into ourselves and root out the distortions until that thing which we know in our hearts is perfect and true, stands before us. Only then will justice be served.

Writing is so much more problematic than drawing, full of moral pitfalls, ambiguity, public responsibility. If you record a day of your life, does the decision to do so change the shape of the day? One of Doris Lessing's days in The Golden Notebook is fifty-four pages long. It's complete; the rest are summaries - the "impression" of a day foisted artfully upon the reader by providing a few details. Fiction is made this way - as lineal perspective gives the illusion of three dimensions in drawing. But does the selection of a day - that you begin by knowing you must remember and observe - really affect it? Do you change the balance, distort the truth? The period itself, its choice and selection, does that not in itself constitute a kind of misconstruction, and the rest follow subconsciously?

We cannot do without reality and we cannot do without illusion. Each serves a purpose, each imposes a limit on the influence of the other, and our experience of the world is the artful compromise that these tough competitors negotiate.

The familiar will always remain the likely starting point for the rendering of the unfamiliar; an existing representation will always exert its spell over the artist even while he strives to record the truth.

If even a dog's tooth is truly worshipped it glows with light. The venerated object is endowed with power, that is the simple sense of the ontological proof. And if there is art enough a lie can enlighten us as well as the truth. What is the truth anyway, that truth? As we know ourselves we are fake objects, fakes, bundles of illusions. Can you determine exactly what you felt or thought or did?

The substitute gratifications, such as art offers, are illusions in contrast to reality, but none the less satisfying to the mind on that account, thanks to the place which phantasy has reserved for herself in mental life.

Deconstruction seeks neither to reframe art with some perfect, apt and truthful new frame, nor simply to maintain the illusion of some pure and simple absence of a frame. Rather it shows that the frame is, in a sense, also inside the painting. For the frame is what "produces" the object of art, is what sets it off as an object of art—an aesthetic object. Thus the frame is essential to the work of art; in the work of art. Paint a $5,000 abstract painting on a railroad boxcar and nobody will pay a cent for it. Take a torch, remove the panel of the boxcar, install it in a gallery, and it will be worth $5,000. It will be art because it is now framed by the gallery. But at the same moment that the frame encloses the work in its own protected enclosure, making it a work of art, it becomes merely ornamental—external to the work of art. Thus is the frame central or marginal? Is the frame inside the work of art, essential to it, or outside the work of art, extrinsic to it?

I am apt to think she was too artful to rail at me, but rather pretended to have a kindness for me, and like Iago gave, as she saw occasion, wounds in the dark.

Forgiveness. The frail beauty of the world takes root in me as I make my way back through the woods, past the caves and the ravine, where the earth has accepted the flesh of the deer, leaving nothing but a bone or two, peeking above Kartik's makeshift grave, to prove that any of this ever happened. Soon, they'll be gone too. But forgiveness...I'll hold on to that fragile slice of hope and keep it close remembering that in each of us lie good and bad, light and dark, art and pain, choice and regret. cruelty and sacrifice. We're each of us our own chiaroscuro, our own bit of illusion fighting to emerge into something solid, something real. We've got to forgive ourselves that. I must remember to forgive myself. Because there's an awful lot of gray to work with. No one can live in the light all the time.

In musical performances one can sense that the person on stage is having a good time even if they're singing a song about breaking up or being in a bad way. For an actor this would be anathema, it would destroy the illusion, but with singing one can have it both ways. As a singer, you can be transparent and reveal yourself on stage, in that moment, and at the same time be the person whose story is being told in the song. Not too many kinds of performance allow that.

There is no remedy against this reversal of the natural order. Man cannot escape from his own achievement. He cannot but adopt the conditions of his own life. No longer in a merely physical universe, man lives in a symbolic universe. Language, myth, art, and religion are parts of this universe. They are the varied threads which weave the symbolic net, the tangled web of human experience. All human progress in thought and experience refines and strengthens this net. No longer can man confront reality immediately; he cannot see it, as it were, face to face. Physical reality seems to recede in proportion as man's symbolic activity advances. Instead of dealing with the things themselves man is in a sense constantly conversing with himself. He has so enveloped himself in linguistic forms, in artistic images, in mythical symbols or religious rites that he cannot see or know anything except by the interposition of this artificial medium. His situation is the same in the theoretical as in the practical sphere. Even here man does not live in a world of hard facts, or according to his immediate needs and desires. He lives rather in the midst of imaginary emotions, in hopes and fears, in illusions and disillusions, in his fantasies and dreams. 'What disturbs and alarms man,' said Epictetus, 'are not the things, but his opinions and fantasies about the things.

Our age is not only Jewish, but also the most 'feminine'; an age in which art represents only a sudarium of its humors; the age of the most gullible anarchism, without any understanding of the State and of justice; the age of the collectivist ethics of the species; the age in which history is viewed with the most astonishing lack of seriousness [historical materialism]; the age of capitalism and of Marxism; the age in which history, life, and science no longer mean anything, apart from economics and technology; the age when genius could be declared a form of madness, while it no longer possesses even one great artist or philosopher; the age of the least originality and its greatest pursuit; the age which can boast of being the first to have exalted eroticism, but not in order to forget oneself, the way the Romans or the Greeks did in their Bacchanalia, but in order to have the illusion of rediscovering oneself and giving substance to one’s vanity.

There is a great deal of illusion in a work of art; one could go farther and say that it is illusory in and of itself, as a "work." Its ambition is to make others believe that it was not made but rather simply arose, burst forth from Jupiter's head like Pallas Athena fully adorned in enchased armor. But that is only a pretense. No work has ever come into being that way. It is indeed work, artistic labor for the purpose of illusion-and now the question arises whether, given the current state of our consciousness, our comprehension, and our sense of truth, the game is still permissible, still intellectually possible, can still be taken seriously; whether the work as such, as a self-sufficient and harmonically self-contained structure, still stands in a legitimate relation to our problematical social condition, with its total insecurity and lack of harmony; whether all illusion, even the most beautiful, and especially the most beautiful, has not become a lie today.

But the artist appeals to that part of our being which is not dependent on wisdom; to that in us which is a gift and not an acquisition— and, therefore, more permanently enduring. He speaks to our capacity for delight and wonder, to the sense of mystery surrounding our lives; to our sense of pity, and beauty, and pain; to the latent feeling of fellowship with all creation— and to the subtle but invincible conviction of solidarity that knits together the loneliness of innumerable hearts, to the solidarity in dreams, in joy, in sorrow, in aspirations, in illusions, in hope, in fear, which binds men to each other, which binds together all humanity— the dead to the living and the living to the unborn.

We find we have little to guide us in our search and must put trust in the only power we have, that natural instinct that propels us toward creation, choice, liberation and change. We must yield to the challenge of becoming fully human and trust in our human processes in the hope that they will lead us there. Out challenge then is clear, to make as much of the illusion as possible a reality. After all, our reality is not more than what was once our illusion.

Our brain is a circuit board with neurons and terminals ready to be wired. We are born free, then programmed to obey our parents, to tell the truth, pass exams, pursue and achieve, love and propagate, age and fade unfulfilled and uncertain what it has all been for. We swallow the operating system with our mother's milk and sleepwalk into the forest of consumer illusion craving shoes, houses, cars, magazines, experiences that endorse our preconceived dreams and opinions. We grow into our parents. We becomes clones, robots, matchstick men thinking and saying the same, feeling the same, behaving the same, appreciating in books and films and art shows those things we already recognize and understand.

Life, raw life, the kind we lead every day, whether it leads us into the past or the future, has the curious property of not seeming real enough. We have a need, however illusive, for a life that is more real than life. It lies in the imagination. Fiction would seem to be the way it is processed into reality. If this were not so we should have little excuse for art. Life, raw life, would be more than satisfactory in itself. But it seems to be the nature of man to transform—himself, if possible, and then the world around him—and the technique of this transformation is what we call art.

In the end, this volume should be read a s a collection of love stories, Above all, they are tales of love, not the love with which so many stories end – the love of fidelity, kindness and fertility – but the other side of love, its cruelty, sterility and duplicity. In a way, the decadents did accept Nordau's idea of the artist as monster. But in nature, the glory and panacea of romanticism, they found nothing. Theirs is an aesthetic that disavows the natural and with it the body. The truly beautiful body is dead, because it is empty. Decadent work is always morbid, but its attraction to death is through art. What they refused was the condemnation of that monster. And yet despite the decadent celebration of artifice, these stories record art's failure in the struggle against natural horror. Nature fights back and wins, and decadent writing remains a remarkable account of that failure.

I am in favour of illusion, not alienation... Drama must create a factitious spell-binding present moment and imprison the spectator in it. The theatre apes the profound truth that we are extended beings who yet can only exist in the present.

The assault on education began more than a century ago by industrialists and capitalists such as Andrew Carnegie. In 1891, Carnegie congratulated the graduates of the Pierce College of Business for being “fully occupied in obtaining a knowledge of shorthand and typewriting” rather than wasting time “upon dead languages.” The industrialist Richard Teller Crane was even more pointed in his 1911 dismissal of what humanists call the “life of the mind.” No one who has “a taste for literature has a right to be happy” because “the only men entitled to happiness… is those who are useful.” The arrival of industrialists on university boards of trustees began as early as the 1870s and the University of Pennsylvania’s Wharton School of Business offered the first academic credential in business administration in 1881. The capitalists, from the start, complained that universities were unprofitable. These early twentieth century capitalists, like heads of investment houses and hedge-fund managers, were, as Donoghue writes “motivated by an ethically based anti-intellectualism that transcended interest in the financial bottom line. Their distrust of the ideal of intellectual inquiry for its own sake, led them to insist that if universities were to be preserved at all, they must operate on a different set of principles from those governing the liberal arts.

Hope for the future lies in each of us looking within. By learning to feed your hunger, you can overcome the tempting illusions all around you. By discovering who you are, you can stop basing your self-image solely on other people’s ideas about you. By connecting to your inner strength, you can stop cycling between idealistic illusions and self-hating disillusionment. By taking responsibility for yourself, you can stop relying on others to take responsibility for you.

Outside, the night was settling fast. I liked the peace and the silence of the countryside, with its fading alpenglow and darkling view of the river. Oliver country, I thought. The mottled lights from across the other bank beamed on the water, reminding me of Van Gogh’s 'Starlight Over the Rhone.' Very autumnal, very beginning of school year, very Indian summer, and as always at Indian summer twilight, that lingering mix of unfinished summer business and unfinished homework and always the illusion of summer months ahead, which wears itself out no sooner than the sun has set.

Then I said to myself, "If the centuries are going by, mine will come too, and will pass, and after a time the last century of all will come, and then I shall understand." And I fixed my eyes on the ages that were coming and passing on; now I was calm and resolute, maybe even happy. Each age brought its share of light and shade, of apathy and struggle, of truth and error, and its parade of systems, of new ideas, of new illusions; in each of them the verdure of spring burst forth, grew yellow with age, and then, young once more, burst forth again. While life thus moved with the regularity of a calendar, history and civilization developed; and man, at first naked and unarmed, clothed and armed himself, built hut and palace, villages and hundred-gated Thebes, created science that scrutinizes and art that elevates, made himself an orator, a mechanic, a philosopher, ran all over the face of the globe, went down into the earth and up to the clouds, performing the mysterious work through which he satisfied the necessities of life and tried to forget his loneliness. My tired eyes finally saw the present age go by end, after it, future ages. The present age, as it approached, was agile, skillful, vibrant, proud, a little verbose, audacious, learned, but in the end it was as miserable as the earlier ones. And so it passed, and so passed the others, with the same speed and monotony.

He had murdered any illlusion of Alex Remington. The golden pendant had been replaced by a spiked dog collar, and he was wearing a black T-shirt that hugged his form and showed off the many designs on his arms: Fenris on the right wrist, and Echidna, the greek mother of monsters, high on his left arm. The norse world serpent was wrapped around his left wrist, and a new design had recently been added: Cerberus, the three-headed dog who guarded the gates of Hades. The world serpent was partially obscurred by a black leather knife sheath, which held a silver knife Aubrey had taken from a vampire hunter a few thousand years earlier. His hair was slightly touseled, as if he'd been running, and a few strands fell across his face. Looking at him now, Jessica couldn't imagine how she had ever mistaken him for a human. But illusion was Aubrey's art. And it was simple to fool people who expected nothing else. For the moment, Aubrey appeared to be exactly what he was: stunning, michievous, and completely deadly all at once

[...] For the first time ever, images of art have become ephemeral, ubiquitous, insubstantial, available, valueless, free. They surround us in the same way as a language surrounds us. They have entered the mainstream of life over which they no longer, in themselves, have power. Yet very few people are aware of what has happened because the means of reproduction are used nearly all the time to promote the illusion that nothing has changed except that the masses, thanks to reproductions, can now begin to appreciate art as the cultured minority once did. Understandably, the masses remain uninterested and sceptical.

IT is an eternal phenomenon: the insatiate will can always, by means of an illusion spread over things, detain its creatures in life and compel them to live on. One is chained by the Socratic love of knowledge and the delusion of being able thereby to heal the eternal wound of existence; another is ensnared by art’s seductive veil of beauty fluttering before his eyes; still another by the metaphysical comfort that beneath the flux of phenomena eternal life flows on indestructibly: to say nothing of the more ordinary and almost more powerful illusions which the will has always at hand. These three planes of illusion are on the whole designed only for the more nobly formed natures, who in general feel profoundly the weight and burden of existence, and must be deluded by exquisite stimulants into forgetfulness of their sorrow.

Most people are not even aware of their need to conform. They live under the illusion that they follow their own ideas and inclinations, that they are individuals, that they have arrived at their opinions as the result of their own thinking—and that it just happens that their ideas are the same as those of the majority. The consensus of all serves as a proof for the correctness of ‘their’ ideas. Since there is still a need to feel some individuality, such need is satisfied with regard to minor differences; the initials on the handbag or the sweater, the name plate of the bank teller, the belonging to the Democratic as against the Republican party, to the Elks instead of to the Shriners become the expression of individual differences. The advertising slogan of ‘it is different’ shows up this pathetic need for difference, when in reality there is hardly any left.

The twin aspects of genius, the passive and the active, are possessed by the fully realized artist; they also form the necessary equipment of the Adept. Yet in very few people are these twin aspects manifested. Nearly everyone has a capacity for the passive aspect, which involves some sort of appreciation of aesthetic values. There are few people totally unresponsive to the beauties of nature, and none at all that is not responsive to its ferocious manifestations.Fewer are able to respond profoundly to the beauty of natural phenomena, and fewer still to so-called works of art. It takes a degree of genius to respond to such manifestations the whole time. Artists in this category are among the saints, some of whom thrilled with rapture at the constant awareness of the total unity, harmony, and beauty of things. Such were Boehme, Ramakrishna, etc. Some yogis are immersed in an unsullied and vibrant bliss derived from the incessant contemplation of this 'world-bewitching maya'4-the breath-taking wonder of the great and glamorous illusion which surrounds us. On the other side of the fence, on the side of active or creative genius, there are yet fewer. Active or creative genius means nothing less than the ability to translate the wonder or the terror of the great lfla (the great play of life) in terms of visual, tactile, audible, olfactory, or some other sensual presentation of phenomena. But there is a third aspect of genius which is yet more rare. It is the ability to open the door of the theatre and admit the influences from outside, from the swarming gulfs beyond the grasp of the mind, and accessible only to the magical entity whose fantastic feelers can snare the most fugitive impulses as they flash through the holes in space, the kinks in time, to be reflected in the magic mirror of the artist's mind.

What a painter inquires into is not the nature of the physical world but the nature of our reactions to it. He is not concerned with causes but with the mechanism of certain effects. His is a psychological problem-that of conjuring up a convincing image despite the fact that not one individual shade corresponds to what we call "reality." In order to understand this puzzle-as far as we can claim to understand it as yet-science had to explore the capacity of our minds to register relationships rather than individual elements.

And as much as I'd like to believe there's a truth beyond illusion, Ive come to believe that there's no truth beyond illusion. Because, between 'reality' on the one hand, and the point where the mind strikes reality, there's a middle zone, a rainbow edge where beauty comes into being, where two very different surfaces mingle and blur to provide what life does not: and this is the space where all art exists, and all magic.

Yes, people are vulnerable to cognitive illusions that lead to supernatural beliefs, and they certainly need to belong to a community. Over the course of history, institutions have arisen that offer packages of customs that encourage those illusions and cater to those needs. That does not imply that people need the complete packages, any more than the existence of sexual desire implies that people need Playboy clubs. As societies become more educated and secure, the components of the legacy religious institutions can be unbundled. The art, rituals, iconography,

Vladimir Nabokov and George Orwell had quite different gifts, and their self-images were quite different. But, I shall argue, their accomplishment was pretty much the same. Both of them warn the liberal ironist intellectual against temptations to be cruel. Both of them dramatise the tension between private irony and liberal hope. In the following passage, Nabokov helped blur the distinctions which I want to draw: ...'Lolita' has no moral in tow. For me a work of fiction exists only in so far as it affords me what I shall bluntly call aesthetic bliss, that is a sense of being somehow, somewhere, connected with other states of being where art (curiosity, tenderness, kindness, ecstasy) is the norm. There are not many such books. All the rest is either topical trash or what some call the Literature of Ideas, which very often is topical trash coming in huge blocks of plaster that are carefully transmitted from age to age until somebody comes along with a hammer and takes a good crack at Balzac, at Gorki, at Mann. Orwell blurred the same distinctions when, in one of his rare descents into rant, "The Frontiers of Art and Propaganda," he wrote exactly the sort of thing Nabokov loathed: You cannot take a purely aesthetic interest in a disease you are dying from; you cannot feel dispassionately about a man who is about to cut your throat. In a world in which Fascism and Socialism were fighting one another, any thinking person had to take sides... This period of ten years or so in which literature, even poetry was mixed up with pamphleteering, did a great service to literary criticism, because it destroyed the illusion of pure aestheticism... It debunked art for art's sake.

Believing then … that human life is actually worth living, one can combat one’s natural pessimism by stoicism and the refusal of illusion, while embellishing the scene with any one of the following. There are the beauties of science and the extraordinary marvels of nature. There is the consolation and irony of philosophy. There are the infinite splendors of literature and poetry, not excluding the liturgical and devotional aspects of these, such as those found in John Donne or George Herbert. There is the grand resource of art and music and architecture, again not excluding those elements that aspire to the sublime. In all of these pursuits, any one of them enough to absorb a lifetime, there may be found a sense of awe and magnificence that does not depend at all on any invocation of the supernatural. Indeed, nobody armed by art and culture and literature and philosophy is likely to be anything but bored and sickened by ghost stories, UFO tales, spiritualist experiences, or babblings from the beyond.

Why we write. Because art blows life into the lifeless, death into the deathless. Because art's lie is preferable, in truth, to life's beautiful terror. Because as time does not pass (nothing, as Beckett tells us, passes) it passes the time. Because Death, our mirthless master, is somehow amused by epitaphs. Because epitaphs well struck give Death, our vorcious master, heartburn. Because fiction imitates life's beauty, thereby inventing the beauty life lacks. Because fiction is the best position, at once exotic and familiar, for fucking the world. Because fiction, mediating paradox, celebrates it. Because fiction, mothered by love, loves love as a mother might her unloving child. Because fiction speaks, hopelessly, beautifully, as the world speaks. Because God, created in the storyteller's image, can be destroyed only by its maker. Because in its perversity, art harmonizes the disharmonious, and because in its profanity, fiction sanctifies life. Because, in its terrible isolation, writing is a path to brotherhood. Because in the beginning was the gesture and in the end the come, as well in between what we have are words. Because of all arts, only fiction can unmake the myths that unman men. Because of its endearing futility, its outrageous pretentions. Because the pen, though short, casts a long shadow upon (it must be said) no surface. Because the world is reinvented every day and this is how it is done. Because there is nothing new under the sun except its expression. Because truth, that illusive joker, hides himself in fictions and must therefore be sought there. Because writing, in all spaces unimaginable vastness, is still the greatest adventure of all. And because, alas, what else?

For Woman, in her weakness, is yet the strongest force upon the earth. She is the helm of all things human; she comes in many shapes and knocks at many doors; she is quick and patient, and her passion is not ungovernable like that of man, but as a gentle steed that she can guide e'en where she will, and as occasion offers can now bit up and now give rein. She has a captain's eye, and stout must be that fortress of the heart in which she finds no place of vantage. Does thy blood beat fast in youth? She will outrun it, nor will her kisses tire. Art thou set toward ambition? She will unlock thy inner heart, and show thee roads that lead to glory. Art thou worn and weary? She has comfort in her breast. Art thou fallen? She can lift thee up, and to the illusion of thy sense gild defeat with triumph. Ay, Harmachis, she can do these things, for Nature ever fights upon her side; and while she does them she can deceive and shape a secret end in which thou hast no part. And thus Woman rules the world. For her are wars; for her men spend their strength in gathering gains; for her they do well and ill, and seek for greatness, to find oblivion. But still she sits like yonder Sphinx, and smiles; and no man has ever read all the riddle of her smile, or known all the mystery of her heart. Mock not! mock not! Harmachis; for he must be great indeed who can defy the power of Woman, which, pressing round him like the invisible air, is often strongest when the senses least discover it.

Have I not reason, beldams as you are, Saucy and overbold? How did you dare To trade and traffic with Macbeth In riddles and affairs of death; And I, the mistress of your charms, The close contriver of all harms, Was never call'd to bear my part, Or show the glory of our art? And, which is worse, all you have done Hath been but for a wayward son, Spiteful and wrathful, who, as others do, Loves for his own ends, not for you. But make amends now: get you gone, And at the pit of Acheron Meet me i' the morning: thither he Will come to know his destiny: Your vessels and your spells provide, Your charms and every thing beside. I am for the air; this night I'll spend Unto a dismal and a fatal end: Great business must be wrought ere noon: Upon the corner of the moon There hangs a vaporous drop profound; I'll catch it ere it come to ground: And that distill'd by magic sleights Shall raise such artificial sprites As by the strength of their illusion Shall draw him on to his confusion: He shall spurn fate, scorn death, and bear He hopes 'bove wisdom, grace and fear: And you all know, security Is mortals' chiefest enemy. Music and a song within: 'Come away, come away,' & c Hark! I am call'd; my little spirit, see, Sits in a foggy cloud, and stays for me.

To get from the tangible to the intangible (which mature artists in any medium claim as part of their task) a paradox of some kind has frequently been helpful. For the photographer to free himself of the tyranny of the visual facts upon which he is utterly dependent, a paradox is the only possible tool. And the talisman paradox for unique photography is to work "the mirror with a memory" as if it were a mirage, and the camera is a metamorphosing machine, and the photograph as if it were a metaphor…. Once freed of the tyranny of surfaces and textures, substance and form [the photographer] can use the same to pursue poetic truth" (Minor White, Newhall, 281).

Art is dead. Art is dead. Art is dead. Art is dead. Entertainers like to seem complicated But we're not complicated I can explain it pretty easily Have you ever been to a birthday Party for children? And one of the children won't stop screaming 'Cause he's just a little Attention attractor When he grows up To be a comic or actor He'll be rewarded for never maturing For never under- Standing or learning That every day Can't be about him There's other people You selfish asshole I must be psychotic I must be demented To think that I'm worthy Of all this attention Of all of this money, you worked really hard for I slept in late while you worked at the drug store My drug's attention, I am an addict But I get paid to indulge in my habit It's all an illusion, I'm wearing make-up, I'm wearing make-up Make-up, make-up, make-up, make... Art is dead So people think you're funny, how do we get those people's money? I said art is dead We're rolling in dough, while Carlin rolls in his grave His grave, his grave The show has got a budget The show has got a budget And all the poor people way more deserving of the money Won't budge it 'Cause I wanted my name in lights When I could have fed a family of four For forty fucking fortnights Forty fucking fortnights I am an artist, please God forgive me I am an artist, please don't revere me I am an artist, please don't respect me I am an artist, you're free to correct me A self-centred artist Self-obsessed artist I am an artist I am an artist But I'm just a kid I'm just a kid I'm just a kid Kid And maybe I'll grow out of it.

Haven't I told you scores of times, that you're always beginners, and the greatest satisfaction was not in being at the top, but in getting there, in the enjoyment you get out of scaling the heights? That's something you don't understand, and can't understand until you've gone through it yourself. You're still at the state of unlimited illusions, when a good, strong pair of legs makes the hardest road look short, and you've such a mighty appetite for glory that the tiniest crumb of success tastes delightfully sweet. You're prepared for a feast, you're going to satisfy your ambition at last, you feel it's within reach and you don't care if you give the skin off your back to get it! And then, the heights are scaled, the summits reached, and you've got to stay there. That's when the torture begins; you've drunk your excitement to the dregs and found it all too short and even rather bitter, and you wonder whether it was really worth the struggle. From that point there is no more unknown to explore, no new sensations to experience. Pride has had its brief portion of celebrity; you know that your best has been given and you're surprised it hasn't brought a keener sense of satisfaction. From that moment the horizon starts to empty of all hopes that once attracted you towards it. There's nothing to look forward to but death. But in spite of that you cling on, you don't want to feel you're played out, you persist in trying to produce something, like old men persist in trying to make love, with painful, humiliating results. ... If only we could have the courage to hang ourselves in front of our last masterpiece!

Popular authors do not and apparently cannot appreciate the fact that true art is obtainable only by rejecting normality and conventionality in toto, and approaching a theme purged utterly of any usual or preconceived point of view. Wild and “different” as they may consider their quasi-weird products, it remains a fact that the bizarrerie is on the surface alone; and that basically they reiterate the same old conventional values and motives and perspectives. Good and evil, teleological illusion, sugary sentiment, anthropocentric psychology—the usual superficial stock in trade, and all shot through with the eternal and inescapable commonplace…. Who ever wrote a story from the point of view that man is a blemish on the cosmos, who ought to be eradicated? As an example—a young man I know lately told me that he means to write a story about a scientist who wishes to dominate the earth, and who to accomplish his ends trains and overdevelops germs … and leads armies of them in the manner of the Egyptian plagues. I told him that although this theme has promise, it is made utterly commonplace by assigning the scientist a normal motive. There is nothing outré about wanting to conquer the earth; Alexander, Napoleon, and Wilhelm II wanted to do that. Instead, I told my friend, he should conceive a man with a morbid, frantic, shuddering hatred of the life-principle itself, who wishes to extirpate from the planet every trace of biological organism, animal and vegetable alike, including himself. That would be tolerably original. But after all, originality lies with the author. One can’t write a weird story of real power without perfect psychological detachment from the human scene, and a magic prism of imagination which suffuses theme and style alike with that grotesquerie and disquieting distortion characteristic of morbid vision. Only a cynic can create horror—for behind every masterpiece of the sort must reside a driving demonic force that despises the human race and its illusions, and longs to pull them to pieces and mock them.

enlargement of our being. We want to be more than ourselves. Each of us by nature sees the whole world from one point of view with a perspective and a selectiveness peculiar to himself. And even when we build disinterested fantasies, they are saturated with, and limited by, our own psychology. To acquiesce in this particularity on the sensuous level—in other words, not to discount perspective—would be lunacy. We should then believe that the railway line really grew narrower as it receded into the distance. But we want to escape the illusions of perspective on higher levels too. We want to see with other eyes, to imagine with other imaginations, to feel with other hearts, as well as with our own.      [138] We are not content to be Leibnitzian monads. We demand windows. Literature as Logos is a series of windows, even of doors. One of the things we feel after reading a great work is ‘I have got out’. Or from another point of view, ‘I have got in’; pierced the shell of some other monad and discovered what it is like inside. Good reading, therefore, though it is not essentially an affectional or moral or intellectual activity, has something in common with all three. In love we escape from our self into one other. In the moral sphere, every act of justice or charity involves putting ourselves in the other person’s place and thus transcending our own competitive particularity. In coming to understand anything we are rejecting the facts as they are for us in favour of the facts as they are. The primary impulse of each is to maintain and aggrandise himself. The secondary impulse is to go out of the self, to correct its provincialism and heal its loneliness. In love, in virtue, in the pursuit of knowledge, and in the reception of the arts, we are doing this. Obviously this process can be described either as an enlargement or as a temporary annihilation of the self. But that is an old paradox; ‘he that loseth his life shall save it’. We therefore delight to enter into other