Quotessence
Home / Topics / Perception Quotes

Perception Quotes

Browse 3279 quotes about Perception.

Related topics

Perception Quotes

“It is the business of thought to define things, to find the boundaries; thought, indeed, is a ceaseless process of definition. It is the business of Art to give things shape. Anyone who takes no delight in the firm outline of an object, or in its essential character, has no artistic sense. He cannot even be nourished by Art. Like Ephraim, he feeds upon the East wind, which has no boundaries.”

“You see, it's really quite simple. A simile is just a mode of comparison employing 'as' and 'like' to reveal the hidden character or essence of whatever we want to describe, and through the use of fancy, association, contrast, extension, or imagination, to enlarge our understanding or perception of human experience and observation.”

“Krys Lee has written a book of unforgettable stories, each one building on the other to create a complex, moving portrait of contemporary Korea and its diaspora. She guides us surely through the fallout of war, immigration, and financial crisis, always alert to the possibility of tenderness, transcendence, and even humor along the way. Lee is a writer who really understands loneliness, but her voice is so appealing, and her perceptions so wise, that we feel all the less lonely for knowing her characters and experiencing their lives.”

“Mrs. Lammle's manner changed under the poor silly girl's embraces, and she turned extremely pale: directing one appealing look, first to Mrs. Boffin, and then to Mr. Boffin. Both understood her instantly, with a more delicate subtlety than much better educated people, whose perception came less directly from the heart, could have brought to bear upon the case.”

“I think that a true economics thinker or a Marxist thinker would make nonsense of my argument, although I have given massive seminars and no one has demolished it so far. I did think that this idea from an artisanal and trading perception of the auratic quality of goods when they are given character and inscription, made the stories of phantasmic wealth read more powerfully in the 18th and 19th centuries than the stories of Cinderella's wealth, because they are conjured out of nothing by these magic means.”

“With Aquaman I worked with such talented guys, Ivan Reis and Joe Prado. And he's a great character. I mean, Aquaman's a great character, he just hasn't been positioned in a role of importance in a long, long time. We tried to do that in this series; give him this platform because he deserves it, and give a very different perception of Aquaman while at the same time staying true to who the character is. Showing his power level, his fortitude, his sense of honor and commitment and responsibility, and hopefully showing everything that makes a hero a hero.”

“I love, first of all, reading and discovering what the common perception is and then trying to figure out... well, how does your life cross over into that character, or what's an angle on this that might challenge the status quo? It's just a great journey as well as an education. You're constantly being educated - it's like I'm back at school and making up for lost time.”

“There is really no fiction or non-fiction; there is only narrative. One mode of perception has no greater claim on the truth than the other; that the distance has perhaps to do with distance - narrative distance - from the characters; it has to do with the kind of voice that is talking, but it certainly hasn't to do with the common distribution between fact and imagination.”

“There's the instability of my attitude as an artist, the instability of our perception of the world, and the idea that with this mix, you never know exactly what's the point of view of the filmmaker. This breaks the stability of the belief that a filmmaker is somebody who has a logical relationship with his own material. These elements create this atmosphere that I find more interesting than a normal atmosphere, based only on the characters.”

“There's an all-enveloping destructiveness in Donald Trump's character and in his psychological tendencies. But I've focused on what professionally I call solipsistic reality. Solipsistic reality means that the only reality he's capable of embracing has to do with his own self and the perception by and protection of his own self. And for a president to be so bound in this isolated solipsistic reality could not be more dangerous for the country and for the world. He's not psychotic, but I think ultimately this solipsistic reality will be the source of his removal from the presidency.”

“During the Reagan eighties, the idea that money was a good thing - it was good to be rich; that wealth was a reflection of your character. We see this today in perceptions of Donald Trump: the idea that money is an expression of success and even goodness. I compare that with my dad's generation, where the American Dream was about giving your kids a better life, but not just in material terms. The American Dream was also about doing something good in the world. The home was at the center of the dream, but home also represented community, shelter, and stability for your family.”

“Sometimes perception is almost more important than the skill level of an actor. And if you give too much away, you have nothing to take for yourself and put onscreen. If people feel like they know you too well, they won't be able to indentify with the character you're trying to portray. Or they'll feel that you're just playing yourself, and then you just become a personality actor. And that's the death of any actor.”

“Better keep yourself clean and bright; you are the window through which you must see the world.”

“Don't separate the mind from the body. Don't separate even character - you can't. Our unit of existence is a body, a physical, tangible, sensate entity with perceptions and reactions that express it and form it simultaneously. Disease is one of our languages. Doctors understand what disease has to say about itself. It's up to the person with the disease to understand what the disease has to say to her.”

“The facts which our senses present to us are socially performed in two ways: through the historical character of the object perceived and through the historical character of the perceiving organ. Both are not simply natural; they are shaped by human activity, and yet the individual perceives himself as receptive and passive in the act of perception.”

“Within a single scene, it seems to be unwise to have access to the inner reflections of more than one character. The reader generally needs a single character as the means of perception, as the character to whom the events are happening, as the character with whom he is to empathize in order to have the events of the writing happen to him.”

“Education has for its object the formation of character. To curb restive propensities, to awaken dormant sentiments, to strengthen the perceptions, and cultivate the tastes, to encourage this feeling and repress that, so as finally to develop the child into a man of well proportioned and harmonious nature, this is alike the aim of parent and teacher.”

“To the extent that we hyper-separate ourselves from nature and reduce it conceptually in order to justify domination, we not only lose the ability to empathise and to see the non-human sphere in ethical terms, but also get a false sense of our own character and location that includes an illusory sense of autonomy. The failure to see the non-human domain in the richer terms appropriate to ethics licences supposedly ‘purely instrumental’ relationships that distort our perceptions and enframings, impoverish our relations and make us insensitive to dependencies and interconnections”

“Character: The ability to carry out a worthy decision after the emotion of making that decision has passed. Character simply stated is doing what you said you were going to do. If you develop a reputation for that, do you have any idea the effect that has on self-perception? Its immense, just immense. The Savior was a man of character. He did everything he said he was going to do.”

“Dastardly devious, cleverly conceived, and just a whole lot of fun to read, DEATH PERCEPTION is Lee Allen Howard on fire and at his finest. Rife with winsome weirdness, it's like the mutant stepchild of Carl Hiaasen and Stephen King, mixing a truly unique paranormal coming-of-age story with a quirky cast of offbeat noir characters into a novel that's simply unforgettable... and hilariously original. A supernatural crime story, blazing with creative intrigue... don't miss it.”