Detachment from reality Quotes

I can detach myself from the world. If there is a better world to detach oneself from than the one functioning at the moment I have yet to hear of it.

The physiologist is not a man of the world, he is a scientist, a man caught and absorbed by a scientific idea that he pursues; he no longer hears the cries of the animals, no longer sees the flowing blood, he sees only his idea: organisms that hide from him problems that he wants to discover. He doesn't feel that he is in a horrible carnage; under the influence of a scientific idea, he pursues with delight a nervous filament inside stinking and livid flesh that for any other person would be an object of disgust and horror.

There's a long way to fall when you pretend that you're so far away from the earth, far away from reality, floating in a bubble that's protected by fame or success. It's scary, and it's the thing I fear the most: to be swallowed up by that bubble. It can be poison to you, fame.

At a certain point you can't help but lose some feel for what's on the ground because you're not on the ground.

I feel closer ties and more intimate bonds with certain characters in books, with certain images I’ve seen in engravings, than with many supposedly real people with the metaphysical absurdity known as ‘flesh and blood’. In fact, ‘flesh and blood’ describes them very well: they resemble cuts of meat laid out on the butcher’s marble slab, dead creatures bleeding as though still alive.

In societies where modern conditions of productions prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into representation. The images detached from every aspect of life fuse in a common stream in which the unity of this life can no longer be re-established. Reality considered partially unfolds, in its own general unity as a pseudo-world apart, an object of mere contemplation . . . The spectacle is not a collection of images, but a social relation among people, mediated by images.

I'm serious, in general, and I guess I cling onto the little freedom I have offscreen. Having said that, I am funny and, at the same time, detached from a lot of things in life.

The appeal of the spectrally macabre is generally narrow because it demands from the reader a certain degree of imagination and a capacity for detachment from every-day life. Relatively few are free enough from the spell of the daily routine to respond to rappings from outside, and tales of ordinary feelings and events, or of common sentimental distortions of such feelings and events, will always take first place in the taste of the majority; rightly, perhaps, since of course these ordinary matters make up the greater part of human experience.