Quotes about modernity
page 6

Rousas John Rushdoony photo
Dana Gioia photo
Maurice Glasman, Baron Glasman photo
F. E. Smith, 1st Earl of Birkenhead photo
John Ralston Saul photo
Jacques Ellul photo
Leila Ben Ali photo
El Lissitsky photo
Leon R. Kass photo
Robert T. Bakker photo
Alexander von Humboldt photo

“Who knows what the new century holds for music? I predict that we will bury most of the musical modernism of the 20th, with its need to shock and cause distress.”

Donald Vroon (1942) American music critic

American Record Guide, March/April 2000, quoted in Ashby, Arved, ed. (2004). The Pleasure of Modernist Music. ISBN 1580461433.

Jacoba van Heemskerck photo

“For you it must be a great satisfaction that you have done so much for modern art. If Der Sturm had not worked like this for ten years then Germany would not have been at the forefront of the movement.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from Dutch, Fons Heijnsbroek, 2018, version in Dutch / citaat van Jacoba van Heemskerck, in het Nederlands vertaald: Voor jou een grote bevrediging dat je zo veel voor de moderne kunst gedaan hebt. Als Der Sturm niet tien jaren zo gewerkt had [met o.a. maandelijkse exposities!] dan had Duitsland niet aan de spits van de beweging gestaan.
In her letter to Herwarth Walden, 24 August 1921; as cited in Jacoba van Heemskerck van Beest, 1876 – 1923: schilderes uit roeping, A. H. Huussen jr. (ed. Marleen Blokhuis), (ISBN: 90-400-9064-5); Waanders, Zwolle, 2005, p. 183
Jacoba refers to the almost monthly exhibitions and the many publications of Der Sturm
1920's

C. N. R. Rao photo
J.M. Coetzee photo
Norman Angell photo
Jackson Pollock photo
Ben Witherington III photo
Carl Sagan photo
Isaac Asimov photo
Fernand Léger photo

“It is an outrage towards the masses.... It's wanting to treat them as though they're incapable of raising themselves up to this new realism [promoted by Léger and Le Corbusier ] which is that of their area, which they've made with their hands... To want to say to these men 'the modern is not for you it's an art for the rich bourgeoisie..”

Fernand Léger (1881–1955) French painter

attack on the notion of Social Realism art
Quote, c. 1949, in: Fernand Léger - The Later Years, catalogue ed. Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 58
Quotes of Fernand Leger, 1940's

Nassim Nicholas Taleb photo

“Much of the research into humans' risk-avoidance machinery shows that it is antiquated and unfit for the modern world; it is made to counter repeatable attacks and learn from specifics. If someone narrowly escapes being eaten by a tiger in a certain cave, then he learns to avoid that cave.”

Nassim Nicholas Taleb (1960) Lebanese-American essayist, scholar, statistician, former trader and risk analyst

"Learning to Expect the Unexpected," http://www.edge.org/3rd_culture/taleb04/taleb_index.html The New York Times (2004-04-08}

Paul Karl Feyerabend photo
Bernard Lewis photo
Theo van Doesburg photo
Anish Kapoor photo
Franklin D. Roosevelt photo
John Gray photo
Linda McQuaig photo
Fernand Léger photo
Antoni Tàpies photo

“In our world, in which religious images are losing their meaning, in which our customs are getting more and more secular, we are losing our sense of the eternal. I think it’s a loss that has done a great deal of damage to modern art. Painting is a return to origins.”

Antoni Tàpies (1923–2012) Catalan painter, sculptor and art theorist

In an interview on the BBC arts program 'Omnibus', (1990); as quoted in 'Antoni Tàpies a Painter With Textures, Dies at 88', by William Grimes, in 'The New York Times', 8 Febr, 2012, p. B17
1981 - 1990

Burkard Schliessmann photo

“I have been strongly influenced by the Mahabharata, discourses of the Buddha, Sri Aurobindo and Plato. My masters have been Vyasa, Buddha and Sri Aurobindo, as elucidated by Ram Swarup. … Paganism was a term of contempt invented by Christianity for people in the countryside who lived close to and in harmony with Nature, and whose ways of worship were spontaneous as opposed to the contrived though-categories constructed by Christianity’s city-based manipulators of human minds. In due course, the term was extended to cover all spiritually spontaneous culture of the world – Greek, Roman, Iranian, Indian, Chinese, native American. It became a respectable term for those who revolted against Christianity in the modern West. But it has yet to recover its spiritual dimension which Christianity had eclipsed. For me, Hinduism preserves ancient Paganism in all its dimensions. In that sense, I am a Pagan. The term "Polytheism' comes from Biblical discourse, which has the term 'theism' as its starting point. I have no use for these terms. They create confusion. I dwell in a different universe of discourse which starts with 'know thyself' and ends with the discovery, 'thou art that'…
I met her [Mother Theresa] briefly in Calcutta in 1954 or 1955 when she was unknown. I had gone to see an American journalist who was a friend and had fallen ill, when she came to his house asking for money for her charity set-up. The friend went inside to get some cash, leaving his five or six year old daughter in the drawing room. Teresa told her, "He is not your real father. Your real father is in heaven." The girl said, "He is very ill." Theresa commented, "If he dies, your father does not die. For your real father who is in heaven never 'dies."”

Sita Ram Goel (1921–2003) Indian activist

The girl was in tears.
Interview, The Observer. Date : February 22, 1997. http://sathyavaadi.tripod.com/truthisgod/Articles/goel.htm https://egregores.blogspot.com/2009/10/buddha-sri-aurobindo-and-plato.html https://egregores.wordpress.com/2009/11/16/hindus-and-pagans-a-return-to-the-time-of-the-gods/

“The role of administration in the modern state is profoundly affected by the general political and cultural environment of the age.”

Leonard D. White (1891–1958) American historian

Source: Introduction to the Study of Public Administration, 1926, p. 7, as cited in: Moynihan (2009)

Aldous Huxley photo

“There was a time when I should have felt terribly ashamed of not being up-to-date. I lived in a chronic apprehension lest I might, so to speak, miss the last bus, and so find myself stranded and benighted, in a desert of demodedness, while others, more nimble than myself, had already climbed on board, taken their tickets and set out toward those bright but, alas, ever receding goals of Modernity and Sophistication. Now, however, I have grown shameless, I have lost my fears. I can watch unmoved the departure of the last social-cultural bus—the innumerable last buses, which are starting at every instant in all the world’s capitals. I make no effort to board them, and when the noise of each departure has died down, “Thank goodness!” is what I say to myself in the solitude. I find nowadays that I simply don’t want to be up-to-date. I have lost all desire to see and do the things, the seeing and doing of which entitle a man to regard himself as superiorly knowing, sophisticated, unprovincial; I have lost all desire to frequent the places and people that a man simply must frequent, if he is not to be regarded as a poor creature hopelessly out of the swim. “Be up-to-date!” is the categorical imperative of those who scramble for the last bus. But it is an imperative whose cogency I refuse to admit. When it is a question of doing something which I regard as a duty I am as ready as anyone else to put up with discomfort. But being up-to-date and in the swim has ceased, so far as I am concerned, to be a duty. Why should I have my feelings outraged, why should I submit to being bored and disgusted for the sake of somebody else’s categorical imperative? Why? There is no reason. So I simply avoid most of the manifestations of that so-called “life” which my contemporaries seem to be so unaccountably anxious to “see”; I keep out of range of the “art” they think is so vitally necessary to “keep up with”; I flee from those “good times” in the “having” of which they are prepared to spend so lavishly of their energy and cash.”

Aldous Huxley (1894–1963) English writer

“Silence is Golden,” p. 55
Do What You Will (1928)

Italo Svevo photo

“A novelist who ranks with Proust, Kafka, Musil and his friend James Joyce as one of the enduring pillars of Modernism.”

Italo Svevo (1861–1928) Italian writer

Paul Bailey, The Independent, September 24, 1999. http://www.independent.co.uk/arts-entertainment/arts-the-comic-genius-at-number-67-1121408.html.
Criticism

Felix Adler photo
Jacques Maritain photo

“The equality of rights of all citizens is the basic tenet of modern democratic societies.”

Jacques Maritain (1882–1973) French philosopher

Man and the State (1951), p. 179.

Peter F. Drucker photo
Charles Lyell photo
Frédéric Bazille photo

“The subject matter is unimportant, provided what I have done is interesting as a painting. I chose the modern era because it is the one I understand best; I find it more alive for people who are alive.”

Frédéric Bazille (1841–1870) French painter

as quoted in: 'Frédéric Bazille and the Birth of Impressionism', Corrinne Chong, PhD -independent scholar http://www.19thc-artworldwide.org/autumn17/chong-reviews-frederic-bazille-and-the-birth-of-impressionism
Quotes, undated

Marion Bauer photo

“He died alone and forgotten and only in modern times has he come up as a genius composer and a brilliant visionary.”

Marion Bauer (1882–1955) American composer

Harry Shaw Simpson. (2014). Music Today, p.300. Geni Book Publishing Experts. ISBN 0452616764030.

Irving Kristol photo

“It is ironic to watch the churches, including large sections of my own religion, surrendering to the spirit of modernity at the very moment when modernity itself is undergoing a kind of spiritual collapse….”

Irving Kristol (1920–2009) American columnist, journalist, and writer

Neo-Conservatism: The Autobiography of an Idea (1995), pp. 36-7.
1990s

Yoshida Kenkō photo
Theo van Doesburg photo

“.. the modern artist can conclude that impulsive and speculative production has come to an end. THE ERA OF DECORATIVE TASTE HAS VANISHED, the artist of today has finished completely with the past. Scientific and technical developments oblige him to draw conclusions.... to revise his means, to establish laws creating a system, that is to say, to master his elementary means of expression in a conscious manner.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from Van Doesburg's article: 'Towards elementary plastic expression', in 'Material zur elementaren Gestaltung', G-1, July 1923; as quoted in 'Theo van Doesburg', Joost Baljeu, Studio Vista, London 1974, p. 141
1920 – 1926

John A. Eddy photo
Italo Svevo photo
Girish Raghunath Karnad photo
James Macpherson photo

“With a genius truly poetical, he [Macpherson] was one of the first literary impostors in modern times.”

James Macpherson (1736–1796) Scottish writer, poet, translator, and politician

Malcolm Laing, The Poems of Ossian, Vol. I (1805), p. liv.
Criticism

Amrita Sher-Gil photo
Alfred North Whitehead photo
T.S. Eliot photo
Sting photo

“Dissent is a legitimate and essential right in any democracy and modern politicians must accept this fact with tolerance. A sense of proportion — and a sense of humour — is a sign of strength, not a sign of weakness.”

Sting (1951) English musician

Joining with Amnesty International in condemning the Russian authorities’ treatment of Pussy Riot, a Russian punk rock protest band. "Sting condemns Russia's treatment of Pussy Riot musicians ahead of Moscow concert" Amnesty International (25 July 2012) http://www.amnesty.org/en/news/sting-condemns-russias-treatment-pussy-riot-musicians-ahead-moscow-concert-2012-07-25

Ernest Gellner photo
Manouchehr Mottaki photo

“Canada has committed horrible, yet modern, violations against its natives, and for the first time, we have now drafted a U. N. resolution regarding this issue.”

Manouchehr Mottaki (1953) Iranian politician

Iranian Foreign Minister Manouchehr Mottaki: Canada Committed Crimes against Its Natives and We Have Drafted a UN Resolution against It http://www.memritv.org/Transcript.asp?P1=1327 November 2006

Thandie Newton photo
Fritjof Capra photo
Camille Paglia photo
George Steiner photo
John Gray photo

“There is a democratic but deluded post-modern fantasy whereby everybody is demed an artist.”

Dennis O'Driscoll (1954–2012) Irish poet, critic

Other Quotes

Robert S. Mendelsohn photo
Alan Moore photo

“When modern horror films or fundamentalists talk about “demons,” they mean something very different than what Socrates meant by the term. It was a lot closer to what I was talking about: the essential drive, the highest self, if you like. So maybe there is a connection, when I met, or appeared to meet, a demon. It was a little bit frightening at first, but after a while we found that we got on OK and we could have a civilized conversation, and I found him very engaging, very pleasant. And it struck me that this was a brilliant literal example of the process of demonization. That when I had approached the demon with fear and loathing, it was fearsome and loathsome. When I approached it with respect, then it was respectable. And I thought, All right, there’s a kind of mirroring that is going on here that is probably applicable to a wide number of social situations. The people or classes of people that we demonize, and that we treat with fear and loathing, respond accordingly. We are projecting a persona of manner of behavior upon them, as well as responding to a manner of behavior that’s already there. When we’re looking at the flaws in their personality that we are able to recognize, the fact that we can recognize them suggests that they are probably in some way a version of flaws that we have ourselves.”

Alan Moore (1953) English writer primarily known for his work in comic books

As quoted in ""HEY, YOU CAN JUST MAKE STUFF UP." Differences between magic and art: None" https://www.believermag.com/issues/201306/?read=interview_moore, by Peter Bebergal, The Believer, (2013).
The Believer interview (2013)

Max Eastman photo

“The modern theory that you should always treat the religious convictions of other people with profound respect finds no support in the Gospels. Mutual tolerance of religious views is the product not of faith, but of doubt.”

Arnold Lunn (1888–1974) British writer and skier

Now I See http://books.google.com/books?id=fEXZAAAAMAAJ&q=%22The+modern+theory+that+you+should+always+treat+the+religious+convictions+of+other+people+with+profound+respect+finds+no+support+in+the+Gospels+Mutual+tolerance+of+religious+views+is+the+product+not+of+faith+but+of+doubt%22&pg=PA101#v=onepage (1933)

Clive Staples Lewis photo
James Meade photo

“The great majority of politicians and other interested persons tend to…. concentrate on…. measures such as education and training of labour and investment in modern efficient capital equipment…. These reforms are of extreme importance but they are concerned basically with raising the output per head of those who are in employment rather than about the number of heads that will find suitable employment.”

James Meade (1907–1995) British economist

James Meade, Full Employment Regained? An Agathotopian Dream, Cambridge University Press, Cambridge, (1995), p. xvii; As cited in: O'higgins, Niall. "The challenge of youth unemployment." International Social Security Review 50.4 (1997): p. 89

Richard Leakey photo
Piet Mondrian photo

“The principle of this art [as Mondrian proposes his view on modern art] is not a negation of matter, but a great love of matter, whereby it is seen in the highest, most intense manner possible, and depicted in the artistic creation.”

Piet Mondrian (1872–1944) Peintre Néerlandais

quote from Mondrian's sketchbook II, 1912/13; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 78
1910's

Fernand Léger photo
Bruce Fairchild Barton photo

“He was in fact an adman: persuading, recruiting followers, finding the right words to arouse interest and create desires, in short exemplifying all the principles of modern salesmanship.”

Bruce Fairchild Barton (1886–1967) American author, politician and advertising executive

Stephen R. Fox, summarizing Barton's beliefs regarding Jesus, in The Mirror Makers : A History of American Advertising and Its Creators (1984); this has been quoted as if it were a statement of Barton's.
Misattributed

“"The language spoken by these early Macedonians has become a controversial issue in modern times. It seems not to have been so in antiquity. As we have seen, Hesiod made Magnes and Macedon first cousins of the Hellenes, and he therefore regarded them as speakers of a dialect (or dialects) of the Greek language. That he was correct in the case of the Magnetes has been proved by the discovery of early inscriptions in an Aeolic dialect in their area of eastern Thessaly. Then, late in the fifth century a Greek historian, Hellanicus, who visited the court of Macedonia, made the father of Macedon not Zeus but Aeolus, a thing which he could not have done unless he knew that the Macedonians were speaking an Aeolic dialect of Greek. A remarkable confirmation of their Greek speech comes from the Persians, who occupied Macedonia as part of their conquests in Europe c.510-480. […] Disagreements over this issue have developed for various reasons. In the second half of the fifth century Thucydides regarded the semi-nomadic, armed northerners of Epirus and western Macedonia as "barbarians", and he called them such in his history of events in 429 and 423. The word was understood by some scholars to mean "non-Greek-speakers" rather than "savages." They were shown to be mistaken in 1956, when inscriptions of 370-68, containing lists of Greek personal names and recording in the Greek language some acts of the Molossians, were found at Dodona in Epirus. This discovery proved beyond dispute that one of Thucydides "barbarian" tribes" of Epirus, the Molossians, was speaking Greek at the time of which he was writing. Demosthenes too called the Macedonians "barbarians" in the 340s. That this was merely a term of abuse has been proved recently by the discovery at Aegae (Vergina) of seventy-four Greek names and one Thracian name on funerary headstones inscribed in Greek letters.”

N. G. L. Hammond (1907–2001) British classical scholar

"The Miracle That Was Macedonia", Palgrave Macmillan (September 1991)

Rollo May photo
Robert T. Bakker photo
Arshile Gorky photo
Bryan Caplan photo

“In a modern democracy, not only can a libertarian be elitist; a libertarian has to be elitist. To be a libertarian in a modern democracy is to say that nearly 300 million Americans are wrong, and a handful of nay-sayers are right.”

Bryan Caplan (1971) American political scientist

Quoted in Elitism or Populism: Pick Your Poison http://econlog.econlib.org/archives/2006/11/elitism_or_popu.html, by Arnold Kling (November 12, 2006)

Norman Mailer photo
Robert Andrews Millikan photo
Walter Rauschenbusch photo
Henri-Frédéric Amiel photo
Baruch Spinoza photo

“In 1663 Spinoza published the only work to which he ever set his name… He had prepared a summary of the second part of Descartes' 'Principles of Philosophy' for the use of a pupil… Certain of Spinoza's friends became curious about this manual and desired him to treat the first part of Descartes' work also in the same manner. This was done within a fortnight and Spinoza was then urged to publish the book, which he readily agreed to do upon condition that one of his friends would revise the language and write a preface explaining that the author did not agree with all the Cartesian doctrine… The contents… [included] an appendix of 'Metaphysical Reflections,' professedly written from a Cartesian point of view, but often giving significant hints of the author's real divergence from Descartes….'On this opportunity,' he writes to Oldenburg, 'we may find some persons holding the highest places in my country… who will be anxious to see those other writings which I acknowledge for my own, and will therefore take such order that I can give them to the world without danger of any inconvenience. If it so happens, I doubt not that I shall soon publish something; if not, I will rather hold my peace than thrust my opinions upon men against the will of my country and make enemies of them.'… The book on Descartes excited considerable attention and interest, but the untoward course of public events in succeeding years was unfavourable to a liberal policy, and deprived Spinoza of the support for which he had looked….
If Spinoza had ever been a disciple of Descartes, he had completely ceased to be so… He did not suppose the geometrical form of statement and argument to be an infallible method of arriving at philosophical truth; for in this work he made use of it to set forth opinions with which he himself did not agree, and proofs with which he was not satisfied. We do not know to what extent Spinoza's manual was accepted or taken into use by Cartesians, but its accuracy as an exposition of Descartes is beyond question. One of the many perverse criticisms made on Spinoza by modern writers is that he did not understand the fundamental proposition cogito ergo sum. In fact he gives precisely the same explanation of it that is given by Descartes himself in the Meditations.”

Baruch Spinoza (1632–1677) Dutch philosopher

p, 125
Spinoza: His Life and Philosophy (1880)

Arundhati Roy photo

“Modern institutions are transparently purposive and that we are in the midst of an evolutionary progression toward more efficient forms.”

Frank Dobbin (1956) American sociologist

Frank Dobbin (1994), "Organizational Models of Culture: The social construction of rational organizing principles," in: Diana Crane (ed) The Sociology of Culture: Emerging theoretical perspectives. Oxford: Basil Blackwell. p. 138; As cited in: Kieran Healy (1998)

Edward Carpenter photo

“Law represents from age to age the code of the dominant or ruling class, slowly accumulated, no doubt, and slowly modified, but always added to and always administered by the ruling class. Today the code of the dominant class may perhaps best be denoted by the word Respectability—and if we ask why this code has to a great extent overwhelmed the codes of the other classes and got the law on its side (so far that in the main it characterises those classes who do not conform to it as the criminal classes), the answer can only be: Because it is the code of the classes who are in power. Respectability is the code of those who have the wealth and the command, and as these have also the fluent pens and tongues, it is the standard of modern literature and the press. It is not necessarily a better standard than others, but it is the one that happens to be in the ascendant; it is the code of the classes that chiefly represent modern society; it is the code of the Bourgeoisie. It is different from the Feudal code of the past, of the knightly classes, and of Chivalry; it is different from the Democratic code of the future—of brotherhood and of equality; it is the code of the Commercial age and its distinctive watchword is—property.
The Respectability of today is the respectability of property. There is nothing so respectable as being well-off.”

Edward Carpenter (1844–1929) British poet and academic

Defence of Criminals: A Criticism of Morality (1889)

Leo Tolstoy photo
Heinrich Heine photo

“People in those old times had convictions; we moderns only have opinions. And it needs more than a mere opinion to erect a Gothic cathedral.”

Heinrich Heine (1797–1856) German poet, journalist, essayist, and literary critic

Französische Bühne (The French Stage), ch. 9 (1837)
Original: (de) Die Menschen in jener alten Zeit hatten Überzeugungen, wir Neueren haben nur Meinungen, und es gehört etwas mehr als eine bloße Meinung dazu, um so einen gotischen Dom aufzurichten.