Source: Philosophical Papers (1979), p. 273.
The Cosmos as a Poem (2010)
Source: The psychology of interpersonal relations, 1958, p. 21 ; as cited in: Albert A. Harrison (1976), Individuals and Groups: Understanding Social Behavior, p. 88
“Even the act of peeling a potato can be an artistic act if it is consciously done.”
Three quotes of Joseph Beuys, in 'An interview with Joseph Beuys,', Willoughby Sharp, published in 'Artforum,' November 1969; as quoted in Six Years: The Dematerialization of the Art Object from 1966 to 1972, Lucy R. Lippard, University of California Press, 1973, p. 121
1960's
“Let us destroy, but don't let us pretend that we are commiting an act of virtue.”
Source: The Fountainhead
“As an act of filmmaking, it draws us in and doesn't let go.”
Review of Magnolia (1999), in review for Great Movies (27 November 2008) http://www.rogerebert.com/reviews/great-movie-magnolia-1999
Reviews, Four star reviews
Context: Magnolia is a film of sadness and loss, of lifelong bitterness, of children harmed and adults destroying themselves. As the narrator tells us near the end, "We may be through with the past, but the past is never through with us." In this wreckage of lifetimes, there are two figures, a policeman and a nurse, who do what they can to offer help, hope and love. … The central theme is cruelty to children, and its lasting effect. This is closely linked to a loathing or fear of behaving as we are told, or think, that we should. … As an act of filmmaking, it draws us in and doesn't let go. It begins deceptively, with a little documentary about amazing coincidences (including the scuba diver scooped by a fire-fighting plane and dumped on a forest fire) … coincidences and strange events do happen, and they are as real as everything else. If you could stand back far enough, in fact, everything would be revealed as a coincidence. What we call "coincidences" are limited to the ones we happen to notice. … In one beautiful sequence, Anderson cuts between most of the major characters all simultaneously singing https://www.youtube.com/watch?v=aNmKghTvj0E Aimee Mann's "It's Not Going to Stop." A directorial flourish? You know what? I think it's a coincidence. Unlike many other "hypertext movies" with interlinking plots, Magnolia seems to be using the device in a deeper, more philosophical way. Anderson sees these people joined at a level below any possible knowledge, down where fate and destiny lie. They have been joined by their actions and their choices.
And all leads to the remarkable, famous, sequence near the film's end when it rains frogs. Yes. Countless frogs, still alive, all over Los Angeles, falling from the sky. That this device has sometimes been joked about puzzles me. I find it a way to elevate the whole story into a larger realm of inexplicable but real behavior. We need something beyond the human to add another dimension. Frogs have rained from the sky eight times this century, but never mind the facts. Attend instead to Exodus 8:2, which is cited on a placard in the film: "And if thou refuse to let them go, behold, I will smite your whole territory with frogs." Let who go? In this case, I believe, it refers not to people, but to fears, shames, sins.
Magnolia is one of those rare films that works in two entirely different ways. In one sense, it tells absorbing stories, filled with detail, told with precision and not a little humor. On another sense, it is a parable. The message of the parable, as with all good parables, is expressed not in words but in emotions. After we have felt the pain of these people, and felt the love of the policeman and the nurse, we have been taught something intangible, but necessary to know.
The Tragic Sense of Life (1913), XI : The Practical Problem
Context: More than a century ago, in 1804, in Letter XC of that series that constitutes the immense monody of his Obermann, Sénancour wrote the words which I have put at the head of this chapter — and of all the spiritual descendants of the patriarchal Rousseau, Sénancour was the most profound and intense; of all the men of heart and feeling that France has produced, not excluding Pascal, he was the most tragic. "Man is perishable. That may be; but let us perish resisting, and if it is nothingness that awaits us, do not let us so act that it shall be a just fate." Change this sentence from it negative to the positive form — "And if it is nothingness that awaits us, let us so act that it shall be an unjust fate" — and you get the firmest basis of action for the man who cannot or will not be a dogmatist.
