on the filming of Abel Gance's La Roue, 1922
Quote in: Fernand Léger - The Later Years -, catalogue edited by Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 21
Quotes of Fernand Leger, 1920's
Source: 1930s, On my Painting (1938), pp. 13-14
"Alphabet" [Alfabet] from "Five Children's Songs" (1934), trans. John Willett in Poems, 1913-1956, p. 239
Poems, 1913-1956 (1976)
E Unibus Pluram: Television and U.S. Fiction
Essays
Source: A Supposedly Fun Thing I'll Never Do Again: Essays and Arguments
Context: The emergence of something called Metafiction in the American '60s was hailed by academic critics as a radical aesthetic, a whole new literary form, literature unshackled from the cultural cinctures of mimetic narrative and free to plunge into reflexivity and self-conscious meditations on aboutness. Radical it may have been, but thinking that postmodern Metafiction evolved unconscious of prior changes in readerly taste is about as innocent as thinking that all those college students we saw on television protesting the Vietnam war were protesting only because they hated the Vietnam war (They may have hated the war, but they also wanted to be seen protesting on television. TV was where they'd seen the war, after all. Why wouldn't they go about hating it on the very medium that made their hate possible?) Metafictionists may have had aesthetic theories out the bazoo, but they were also sentient citizens of a community that was exchanging an old idea of itself as a nation of do-ers and be-ers for a new vision of the U. S. A. as an atomized mass of self-conscious watchers and appearers. For Metafiction, in its ascendant and most important phases, was really nothing more than a single-order expansion of its own theoritcal nemesis, Realism: if Realism called it like it saw it, Metafiction simply called it as it saw itself seeing it. This high-cultural postmodern genre, in other words, was deeply informed by the emergence of television and the metastasis of self-conscious watching.
Quote of Malevich, cited in Artists on Art; from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 452
1910 - 1920
Session 918, Page 368
Dreams, Evolution and Value Fulfillment, Volume Two (1986)
Gertrude (1910)
Context: That life is difficult, I have often bitterly realized. I now had further cause for serious reflection. Right up to the present I have never lost the feeling of contradiction that lies behind all knowledge. My life has been miserable and difficult, and yet to others, and sometimes to myself, it has seemed rich and wonderful. Man's life seems to me like a long, weary night that would be intolerable if there were not occasionally flashes of light, the sudden brightness of which is so comforting and wonderful, that the moments of their appearance cancel out and justify the years of darkness.
if there is such a thing
Interview in Penthouse (September 1970)
"Guilt, Character, Possibilities" (p. 227)
American Fictions (1999)
“The Pornographic Imagination,” p. 69
Styles of Radical Will (1966)
