The greatest thing by far is to be a master of metaphor; it is the one thing that cannot be learned from others; and it is also a sign of genius, since a good metaphor implies an intuitive perception of the similarity of the dissimilar.
The body is imaginary, and we bow to the tyranny of a phantom. Love is a privilege perception, the most total and lucid not only of the unreality of the world but of our own unreality: not only do we traverse a realm of shadows; but ourselves are shadows.
We imperatively require a perception of and a homage to beauty in our companions. Other virtues are in request in the field and workyard, but a certain degree of taste is not to be spared in those we sit with.
Out of the multitude of our sense experiences we take, mentally and arbitrarily, certain repeatedly occurring complexes of sense impression (partly in conjunction with sense impressions which are interpreted as signs for sense experiences of others), and we attribute to them a meaning the meaning of the bodily object.
STORIES WE TELL is one of the boldest and most exciting films I’ve seen in the last six months, and the kind of experience that has the power to alter your perception of the world.
Considered logically this concept is not identical with the totality of sense impressions referred to; but it is an arbitrary creation of the human (or animal) mind.