“We are at the classic-romantic barrier now, where on one side we see a cycle as it appears immediately—and this is an important way of seeing it—and where on the other side we can begin to see it as a mechanic does in terms of underlying form—and this is an important way of seeing things too. These tools for example—this wrench—has a certain romantic beauty to it, but its purpose is always purely classical. It's designed to change the underlying form of the machine.”

Source: Light on Life: The Yoga Journey to Wholeness, Inner Peace, and Ultimate Freedom, p. 61

From a series of interviews with Marco Livingstone (April 22 - May 7, 1980 and July 6 - 7, 1980) quoted in Livingstone's David Hockney (1981) , p. 112
1980s
Context: When conventions are old, there's quite a good reason, it's not arbitrary. So Picasso discovered that, as it were, and I'm sure that for him that was probably almost as exciting as discovering Cubism, rediscovering conventions of ordinary appearance, one-point perspective or something. The purists think you're going backwards, but I know you'd go forward. Future art that is based on appearances won't look like the art that's gone before. Even revivals of a period are not the same. The Renaissance is not the same as ancient Greece; the Gothic revival is not the same as Gothic. It might look like that at first, but you can tell it's not. The way we see things is constantly changing. At the moment the way we see things has been left a lot to the camera. That shouldn't necessarily be.

Source: A Big Little Life: A Memoir of a Joyful Dog

Source: The Romantic Generation (1995), Ch. 3 : Mountains and Song Cycles

Source: The Cosmic Serpent: DNA and the Origins of Knowledge

वैराग्य

Pt 1, Ch. 1 http://www.resologist.net/lo101.htm
Lo! (1931)

Source: after 2000, Doubt and belief in painting' (2003), p. 108, note 61

Interview with pianist Leon Fleisher http://www.examiner.com/article/interview-with-pianist-leon-fleisher by Elijah Ho (October 1, 2014)