The magnificent cause of being, The imagination, the one reality In this imagined world.
How cold the vacancy When the phantoms are gone and the shaken realist First sees reality. The mortal no Has its emptiness and tragic expirations.
While on that old grey stone I sat Under the old wind-broken tree, I knew that One is animate, Mankind inanimate phantasy.
Sometimes the only way to become grounded is to hit bottom.
There are two strains, I think, in American playwriting, of importance. One is traditional narrative realism, which is definitely my strain, and then the other great contribution is American musical theater, which is a whole other kettle of fish.
One of the things that bugs me about the Western Literary Tradition is that the conventions of narrative in particular seem to confine the stories you can tell about characters to tropes of bone-headed action and old models of psychological realism. And as readers, too, we have been conditioned to understand characters as - and forgive me for saying it out loud - what the market says they should be. Namely, safe, clean, proper.
I like it when characters are some combination of appealing and maybe flawed or self-interested. I think in terms of scenes, and what I want a scene to achieve, and I think that the psychological realism arises from that.
I don't think that I would ever, while writing, think to myself, "I need a little more psychological realism."
I'm fascinated by the magic realism used by many writers. I think it goes hand-in-hand with the Indian experience. It's a very different way of viewing the world.
... what is faked [by the computerization of image-making], of course, is not reality, but photographic reality, reality as seen by the camera lens. In other words, what computer graphics have (almost) achieved is not realism, but rather only photorealism - the ability to fake not our perceptual and bodily experience of reality but only its photographic image.
Fifty years from now I don't think optical realism is going to be an issue in visual communication any more. Experience is so much richer than light falling on your retina. You embody a microcosm of reality when you walk down the street - your memories, your varying degrees of awareness of what's going on around you, everything we could call the contextualizing information. Representing that information is going to be the main issue in the years ahead - how the world meets the mind, not the eye.
I think what I find challenging is just trying to bring a truthfulness and a realism to a character.
There is a reality to the way the actors play the scenes, given that there is a real, animatronic, moving robot in the room. So the level of nuance and realism in performance was higher because we built the real ones, and it keeps the visual effects guys honest.
... the thing that's happening today vis-á-vis computer imaging, vis-á-vis alteration, is that it no longer needs to be based on the real at all. I don't want to get into jargon - let's just say that photography to me no longer pertains to the rhetoric of realism; it pertains more perhaps to the rhetoric of the unreal rather than the real or of course the hyperreal.
The realism frightens me more than the bubble gum-y, heightened stuff.
Fantasy is hard to do when it comes to making it look good compared to something that's a documentary or hyper-realism.
I just happened to have my camera and be photographing my friends. It was totally innocent; there was no purpose to the photographs. There was a purity to them that wasn't planned; it was realism. Over the years, the work has changed for me. I know that I have wanted to repeat myself, but I can't. I've been lost a lot of times, but then I'd just get an idea and photograph it. Once I'd started, I'd know exactly what would go down and how it would end. So I just quit doing it, because it loses all interest for me when you know what's going to happen.
[T]he next time you hear serious-sounding people explaining the need for fiscal austerity, try to parse their argument. Almost surely, you'll discover that what sounds like hardheaded realism actually rests on a foundation of fantasy, on the belief that invisible vigilantes will punish us if we're bad and the confidence fairy will reward us if we're good. And real-world policy - policy that will blight the lives of millions of working families - is being built on that foundation.
It's a reality of art that the fewer lines you get, the harder it is. Cartooning is actually harder than realism. You have less to work with. It's like trying to build a house-if you have unlimited resources, you're in much better shape than if you get two bricks, a hammer, and a bent nail.
Realism is more important than the sentiment of the picture.
There's an element of realism to it. I immersed myself more in the subject as a young adult. Then I started to get involved with a lot of people that were involved in it, and they would just bring me along basically. And I learned and decided that my Christian charity, what I wanted to do to serve God's will, was to help people that were ensnared by the demonic.
Whenever someone asks me about fantasy versus realism, I'm like, "I don't know, guys. Did we not all just descend into some underworld, watch strangers from our past kaleidoscope through us according to some pattern that is both illogical and has its own strange melting truth, and then wake up and have a Pop-Tart?" Why are we talking about fantasy and reality like they're opposed?
Magical realism as a declaration in the text is usually when someone can't speak and then they must be magically reinvigorated in some way.
I'm interested in reality but I'm not interested in realism at all.
Artists used to argue about art for art's sake versus social realism etc, and now it's like the most dominate argument is related to "art for the market's sake." It's a necessity, somewhat, for some people.
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