Unreal Famous Quotes

As the French cultural theorist Paul Virilio famously said, “The invention of the ship was also the invention of the shipwreck.

For, as on the coloured canvas Subtle pencils softly blend Dark and light in such proportions That the dim perspectives end- Now perhaps like famous cities, Now like caves or misty capes, For remoteness ever formeth Monstrous or unreal shapes... So it was, while I alone, Saw their bulk and vast proportions But their form remained unknown. First they seemed to us uplifting High in heaven their pointed towers, Clouds that to the sea descended, To conceive in sapphire showers What they would bring forth in crystal. And this fancy seemed more true, As from their untold abundance They, methought, could drink the blue Drop by drop. Again sea monsters Seemed to us the wandering droves, Which, to from the train of Neptune, Issued from their green alcoves. For the sails, when lightly shaken, Fanned by zephyrs as by slaves, Seemed to us like outspread pinions Fluttering o'er the darkened waves; Then the mass, approaching nearer, Seemed a mighty Babylon, With its hanging gardens pictures By the streamers fluttering down. But at last our certain vision Undeceived, becoming true, Showed it was a great armada For I saw the prows cut through Foam....

There is a famous passage in Science and Health which has been spoken of as Mary Baker’s “immortal thesis,” and an alleged distortion of which was the theme of one of the numerous lawsuits in which the founder and the apostles of Christian Science have been involved. In set terms it is here declared that there is neither life, nor truth, nor intelligence, nor substance, in matter. Everything is infinite mind and its everlasting revelation, for God is all in all. Mind is immortal truth, whereas matter is mortal error. Mind is the real and the eternal, whereas matter is the unreal and the temporal. Mind is God and man is his image, wherefore man is not material but mental. Can the reader understand this farrago? If not, all the better.

Spiritual books are outward things, and they also can make us unreal. No soul spins a grosser web of self-deceit around itself than the one that habitually reads spiritual books above its spiritual condition, or in any other way unfitted for its existing circumstances. Common states of prayer look uncommon to the man who is always reading books of mystical theology. Converts particularly are always mistaking common graces for uncommon ones. Indeed, mystical theology can be made into a sham more easily than most things that are real. If we are forever reading of pure and disinterested love of God, we soon come to think that our love for Him is such as we read of. Heroic thoughts are infectious, and we soon swell with them. But they will not do duty for heroic deeds. They only give an air of sentimentality to our religion, when we are not making any real effort to act upon them. When a spiritual book does not mortify us and keep us down, it is sure to puff us up and make us untruthful. Its doctrine gets into our head, and we commit follies. A man who finds the popular commonplace spiritual books dull and unimpressive has great reason to suspect his religious state altogether. Of one thing he may be quite confident, and that is his feeling of dullness in the common books shows he is not up to the level of high books.

Everything and Nothing* There was no one inside him; behind his face (which even in the bad paintings of the time resembles no other) and his words (which were multitudinous, and of a fantastical and agitated turn) there was no more than a slight chill, a dream someone had failed to dream. At first he thought that everyone was like him, but the surprise and bewilderment of an acquaintance to whom he began to describe that hollowness showed him his error, and also let him know, forever after, that an individual ought not to differ from its species. He thought at one point that books might hold some remedy for his condition, and so he learned the "little Latin and less Greek" that a contemporary would later mention. Then he reflected that what he was looking for might be found in the performance of an elemental ritual of humanity, and so he allowed himself to be initiated by Anne Hathaway one long evening in June. At twenty-something he went off to London. Instinctively, he had already trained himself to the habit of feigning that he was somebody, so that his "nobodiness" might not be discovered. In London he found the calling he had been predestined to; he became an actor, that person who stands upon a stage and plays at being another person, for an audience of people who play at taking him for that person. The work of a thespian held out a remarkable happiness to him—the first, perhaps, he had ever known; but when the last line was delivered and the last dead man applauded off the stage, the hated taste of unreality would assail him. He would cease being Ferrex or Tamerlane and return to being nobody. Haunted, hounded, he began imagining other heroes, other tragic fables. Thus while his body, in whorehouses and taverns around London, lived its life as body, the soul that lived inside it would be Cassar, who ignores the admonition of the sibyl, and Juliet, who hates the lark, and Macbeth, who speaks on the moor with the witches who are also the Fates, the Three Weird Sisters. No one was as many men as that man—that man whose repertoire, like that of the Egyptian Proteus, was all the appearances of being. From time to time he would leave a confession in one corner or another of the work, certain that it would not be deciphered; Richard says that inside himself, he plays the part of many, and Iago says, with curious words, I am not what I am. The fundamental identity of living, dreaming, and performing inspired him to famous passages. For twenty years he inhabited that guided and directed hallucination, but one morning he was overwhelmed with the surfeit and horror of being so many kings that die by the sword and so many unrequited lovers who come together, separate, and melodiously expire. That very day, he decided to sell his theater. Within a week he had returned to his birthplace, where he recovered the trees and the river of his childhood and did not associate them with those others, fabled with mythological allusion and Latin words, that his muse had celebrated. He had to be somebody; he became a retired businessman who'd made a fortune and had an interest in loans, lawsuits, and petty usury. It was in that role that he dictated the arid last will and testament that we know today, from which he deliberately banished every trace of sentiment or literature. Friends from London would visit his re-treat, and he would once again play the role of poet for them. History adds that before or after he died, he discovered himself standing before God, and said to Him: I , who have been so many men in vain, wish to be one, to be myself. God's voice answered him out of a whirlwind: I, too, am not I; I dreamed the world as you, Shakespeare, dreamed your own work, and among the forms of my dream are you, who like me, are many, yet no one.

Hypocrisy—in other words, the practice of lying about lying—shields us from seeing ourselves as we are: a collocation of fragments that fit together as a biological unit but not as anything else, not as that ghost which has been called a self, a phantasm whose ecotoplasmic unreality we can never see through. By staying true to the lie of the self, the ego, we can hold onto the illusion that we will be who we are all our lives and not see our selves die a thousand times before our death. While some have dedicated themselves to getting to the bottom of how these parts create the illusion of a whole, this is not how pyramids are built. To get a pyramid off the ground takes a lot of ego—the base material of those stacks of stones that tourists visit while on vacation. Of course, a pyramid is actually a polyhedron, that is, a mathematical conception which pyramids in the physical world resemble . . . at least from a distance. The nearer one gets to a pyramid, the more it reveals itself to be what it is: a roughly pyramidal conglomeration of bricks, a composition of fragments that is not what it seems to be. This is also how it works with humans. The world around us encourages the build up of our egos—those pyramids of self-esteem—as if we needed such encouragement. Although everyone is affected by this pyramid scheme, some participate in it more than others: they are observably more full of themselves and tend to their egos as they would exotic plants in a hothouse. It helps if they can wear down the self-esteem of others, or simply witness this erosion. As the American novelist and essayist Gore Vidal said famously and often: “It is not enough to succeed. Others must fail.” None of this could work without the distance we put between what we are and what we think we are. Then we may appear to exist apart from our constituent elements. Self-esteem would evaporate without a self to esteem. As with pyramids, it is only at a distance that this illusion can be pulled off. Hypocrisy is that distance.

Plato’s justification of elite rule is set out in his famous Allegory of the Cave.11 It contrasts the unreality of the images by which the Many live and the true reality that only the Few can approximate.

The only thing worse than unrealized hope is no hope.

Our world is no longer a safe place. Perhaps it never was. Between 1985 and 1993, exposure to violence increased 176 percent for the average junior high school student. Fifty percent of the women in our culture will experience some form of sexual assault during their lifetimes. We are all aware of the shrinking global village. Violence in other lands seems closer than ever before. Terrorism and hatred leak across our borders. No longer can we say that it’s not our problem. We know what violence does to people. Alice Miller, the famous psychotherapist, described the process in her classic book For Your Own Good. German children in the 1920s and 1930s became acclimatized to physical violence. They saw it in their homes, where physical punishment was routine. By today’s standards, this same form of punishment would be abusive. They saw it in the streets. Germany lost a war they felt they should have won. They felt betrayed by their leaders. Political and economic chaos surrounded them. Children learned to split off from the violence. They learned to make it unreal, which is why as adults, Miller points out, they could be in the presence of concentration camps and remain unmoved.2

It should be clear that in Finnegans Wake, past, present, future, space, time and Ego-reality are all dissolved into the multiple "realities" described by mystics and quantum physicists; that Joyce, a man of timid courage, has seized the keys of hell of death, by showing that the Ego dies and is reborn more continually than we realize, and that absence or death are as unreal in this context as the famous Schrödinger equations which demonstrated in quantum theory that a cat may be dead and alive at the same time.

The theme of this exhibition is folk art, and the building, which is usually a typical white-cube space, has been dressed up to look like a circus. The walls are covered in strange murals; level with my head are alligators eating trapeze artists who are, in turn, eating small alligators. In large display cases are arrangements by the famous Victorian taxidermist and artist, Walter Potter. There's a feast being had by little ginger kittens that look like they were once---before dying and being stuffed with hay and then seated on miniature dining chairs and put in front of tiny cakes, pots of tea, and samovars---from the same litter. Their eyes are beautiful, black, glistening marbles. Next to the cat feast is another Walter Potter---rabbits diligently working at desks in a miniature classroom. It's thrilling seeing these works. I've known them for years; I studied them for my A-levels. In photographs, they seem clean and unreal. Up close, I can see the little dimples in the animals' skin where their muscles used to attach; I can smell the tiny, microscopic traces of hundred-year-old-blood inside them.

The insatiable need for more processing power -- ideally, located as close as possible to the user but, at the very least, in nearby indus­trial server farms -- invariably leads to a third option: decentralized computing. With so many powerful and often inactive devices in the homes and hands of consumers, near other homes and hands, it feels inevitable that we'd develop systems to share in their mostly idle pro­cessing power. "Culturally, at least, the idea of collectively shared but privately owned infrastructure is already well understood. Anyone who installs solar panels at their home can sell excess power to their local grid (and, indirectly, to their neighbor). Elon Musk touts a future in which your Tesla earns you rent as a self-driving car when you're not using it yourself -- better than just being parked in your garage for 99% of its life. "As early as the 1990s programs emerged for distributed computing using everyday consumer hardware. One of the most famous exam­ples is the University of California, Berkeley's SETl@HOME, wherein consumers would volunteer use of their home computers to power the search for alien life. Sweeney has highlighted that one of the items on his 'to-do list' for the first-person shooter Unreal Tournament 1, which shipped in 1998, was 'to enable game servers to talk to each other so we can just have an unbounded number of players in a single game session.' Nearly 20 years later, however, Sweeney admitted that goal 'seems to still be on our wish list.' "Although the technology to split GPUs and share non-data cen­ter CPUs is nascent, some believe that blockchains provide both the technological mechanism for decentralized computing as well as its economic model. The idea is that owners of underutilized CPUs and GPUs would be 'paid' in some cryptocurrency for the use of their processing capabilities. There might even be a live auction for access to these resources, either those with 'jobs' bidding for access or those with capacity bidding on jobs. "Could such a marketplace provide some of the massive amounts of processing capacity that will be required by the Metaverse? Imagine, as you navigate immersive spaces, your account continuously bidding out the necessary computing tasks to mobile devices held but unused by people near you, perhaps people walking down the street next to you, to render or animate the experiences you encounter. Later, when you’re not using your own devices, you would be earning tokens as they return the favor. Proponents of this crypto-exchange concept see it as an inevitable feature of all future microchips. Every computer, no matter how small, would be designed to be auctioning off any spare cycles at all times. Billions of dynamically arrayed processors will power the deep compute cycles of event the largest industrial customers and provide the ultimate and infinite computing mesh that enables the Metaverse.

And the famous invocation is for light and understanding: ‘Lead me from the unreal to the real! Lead me from darkness to light! Lead me from death to immortality.’… There is no humility about this quest, the humility before an all-powerful deity, so often associated with religion. In a morning prayer, the sun is addressed thus: ‘O sun of refulgent glory, I am the same person as makes thee what thou art.’ What a superb self-confidence!

The situation was similar in the Soviet Union, with industry playing the role of sugar in the Caribbean. Industrial growth in the Soviet Union was further facilitated because its technology was so backward relative to what was available in Europe and the United States, so large gains could be reaped by reallocating resources to the industrial sector, even if all this was done inefficiently and by force. Before 1928 most Russians lived in the countryside. The technology used by peasants was primitive, and there were few incentives to be productive. Indeed, the last vestiges of Russian feudalism were eradicated only shortly before the First World War. There was thus huge unrealized economic potential from reallocating this labor from agriculture to industry. Stalinist industrialization was one brutal way of unlocking this potential. By fiat, Stalin moved these very poorly used resources into industry, where they could be employed more productively, even if industry itself was very inefficiently organized relative to what could have been achieved. In fact, between 1928 and 1960 national income grew at 6 percent a year, probably the most rapid spurt of economic growth in history up until then. This quick economic growth was not created by technological change, but by reallocating labor and by capital accumulation through the creation of new tools and factories. Growth was so rapid that it took in generations of Westerners, not just Lincoln Steffens. It took in the Central Intelligence Agency of the United States. It even took in the Soviet Union’s own leaders, such as Nikita Khrushchev, who famously boasted in a speech to Western diplomats in 1956 that “we will bury you [the West].” As late as 1977, a leading academic textbook by an English economist argued that Soviet-style economies were superior to capitalist ones in terms of economic growth, providing full employment and price stability and even in producing people with altruistic motivation. Poor old Western capitalism did better only at providing political freedom. Indeed, the most widely used university textbook in economics, written by Nobel Prize–winner Paul Samuelson, repeatedly predicted the coming economic dominance of the Soviet Union. In the 1961 edition, Samuelson predicted that Soviet national income would overtake that of the United States possibly by 1984, but probably by 1997. In the 1980 edition there was little change in the analysis, though the two dates were delayed to 2002 and 2012. Though the policies of Stalin and subsequent Soviet leaders could produce rapid economic growth, they could not do so in a sustained way. By the 1970s, economic growth had all but stopped. The most important lesson is that extractive institutions cannot generate sustained technological change for two reasons: the lack of economic incentives and resistance by the elites. In addition, once all the very inefficiently used resources had been reallocated to industry, there were few economic gains to be had by fiat. Then the Soviet system hit a roadblock, with lack of innovation and poor economic incentives preventing any further progress. The only area in which the Soviets did manage to sustain some innovation was through enormous efforts in military and aerospace technology. As a result they managed to put the first dog, Leika, and the first man, Yuri Gagarin, in space. They also left the world the AK-47 as one of their legacies. Gosplan was the supposedly all-powerful planning agency in charge of the central planning of the Soviet economy.