"Cinema-in-the-Round" (2007)
Quote in Macke's letter to philosopher de:Eberhard Grisebach, March 1913; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 145
Tommy Lee Wallace on Crafting His Miniseries Masterpiece, IT https://dailydead.com/stephen-king-week-tommy-lee-wallace-on-crafting-his-miniseries-masterpiece-it/ (October 27, 2015)
Quote from a letter to Mstislav V. Dobushinsky, = A. N. Benois, 1912; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 147
1910's
'Search for the Real in the Visual Arts', p. 44
Search for the Real and Other Essays (1948)
p 219-220
New Pathways In Psychology: Maslow and the Post-Freudian Revolution (1972)
But the desert is filled with the spirit of non-objective feeling.. ..which penetrates everything.
In 'The Non-Objective World: The Manifesto of Suprematism', 1926; trans. Howard Dearstyne [Dover, 2003, ISBN 0-486-42974-1], 'part II: Suprematism', p. 68
1921 - 1930
Volume V, part VIII, chapter I, section 2 (1860).
Modern Painters (1843-1860)
Part 2
Discourse on Voluntary Servitude (1548)
The Independent, Obituaries, Laraine Day, November 13, 2007.
Interview in 2006, as quoted in "Gary Gygax, Game Pioneer, Dies at 69" in The New York Times (5 March 2008)
Boccioni is referring in this quote to the 'Manifesto of Futurist Painters' of 1910, and its core Futurist concept of dynamic sensation; p. 47.
1912, Les exposants au public', 1912
Quote of Vincent van Gogh in his letter to Horace Mann Livens, from Paris, September or October 1886; from letter 569 - vangoghletters online http://vangoghletters.org/vg/letters/let569/letter.html
1880s, 1886
letter to his friend Don Martín Zapater, early Jan. 1779 https://www.wikidata.org/wiki/Q3915977 and https://nl.wikipedia.org/wiki/Bestand:Francisco_de_Goya_-_Portrait_of_Mart%C3%ADn_Zapater_-_Google_Art_Project.jpg; as quoted in Francisco Goya, Hugh Stokes, Herbert Jenkins Limited Publishers, London, 1914, p. 110
Early in January, 1779, Goya was presented to the Spanish King and the heir apparent, and kissed hands. They appreciated his pictures (cartoons), Goya made as designs for the royal tapestry factory, to cover the huge walls of the king's palace https://commons.wikimedia.org/wiki/Palacio_Real_de_Madrid
1770s
To Leon Goldensohn (12 March 1946). Quoted in "The Nuremberg Interviews" - by Leon Goldensohn, Robert Gellately - History - 2004
The History of Rome, Volume 2 Translated by W.P. Dickson
On Hannibal the man and soldier
The History of Rome - Volume 2
In a letter to Henriette Schwitters, (16 June 1939); as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, Stedelijk Museum Amsterdam, NAI Publishers, Rotterdam 2000, p. 41.
1930s
Introductory profile at The University of Adelaide
quote about her way of 'abstraction'
1960s, Interview with Barbara Rose', Archives - American Art, 1968
Australian Meeting of the British Association. Inaugural Address. August 20th, 1914.
It won't even be an interesting debate, getting killed by shrapnel, in my opinion is a lot more gruesome and a lot worse.
John Mearsheimer on America Unhinged https://www.youtube.com/watch?v=jwqqzh59sVo provided by the Center for the National Interest. The bold text is Mearsheimer speaking about B. H. Liddell Hart's experience with chemical warfare, and the rest is of his opinion of it.
June 13, 1943 edition of the New York Times, brief manifesto: Adolph Gottlieb with Mark Rothko and Barnett Newman.
1940s
Quote in a letter of Degas to Jean-Baptiste Faure, 14 March 1877
1876 - 1895
"Circus," review of Moscow on the Hudson (1984-04-16), p. 160.
State of the Art (1985)
Another silence ensued. "They are taking pictures of taking pictures," he said.”
White Noise (1984)
Source: Tarzan of the Apes (1912), Ch. 7 : The Light of Knowledge
"The Obscurity of the Poet," Harvard University lecture (15 August 1950), published in Poetry and the Age (1953)
General sources
Source: 1990s, Intelligent Design: The Bridge Between Science & Theology (1999), p. 206
Reportedly said around the time of her retirement, circa 1926, as quoted in Women, Women, Women: Quips, Quotes, and Commentary (1977) by Leta W. Clark, p. 16
“I cannot say why I wanted to paint. The only answer is in the pictures themselves.”
"Black Cultural Nationalism" in The Black Aesthetic (1971)
"The Old and the New Masters," lines 53-61
The Lost World (1965)
Source: Jayant V. Narlikar Violent Phenomena in the Universe http://books.google.com/books?id=VFbCAgAAQBAJ&printsec=frontcover, Courier Dover Publications, 16 October 2012, p. 1
“Conceive of a picture really as a series of harmonies.”
31 Aug 1890.
Private Journal - A collage of notes and images, sketches kept 1888-1895 & 1907 to 1940
“I think it is one of the greatest pictures ever taken of a woman.”
On Robert Mapplethorpe’s portrait of Patti Smith on the cover of Smith’s debut album Horses (1975), p. 45
Sex, Art and American Culture : New Essays (1992)
Source: 1950's, In: Reminiscence and Reverie, 1951, pp. 45, 46
Source: 1940's, La mia Vita (1945), Carlo Carrà; as quoted in Futurism, ed. Didier Ottinger (2008), p. 29 - In his quote Carrà is refering to his painting 'The Funeral of the Anarchist Galli', he painted ca 1910/11
Collected Works, Vol. 22, pp. 305–319.
Collected Works
“…and if you want to see a picture of Nils”
Blyth, PM's financial reporter] and I, there's one on the Radio 4 home page today." [web page had picture of Wallace & Gromit advertising their Xmas special[citation needed]
From PM and Broadcasting House
Where Is God (2009, Thomas Nelson publishers)
Variant translation: Close your bodily eye, that you may see your picture first with the eye of the spirit. Then bring to light what you have seen in the darkness, that its effect may work back, from without to within.
Quoted in The Romantic Imagination: Literature and Art in England and Germany (1996) by Fredrick Berwick and Jürgn Klein, and in "Culture: Caspar D. Friedrich and the Wasteland" by Gjermund E. Jansen in Bits of News (3 March 2005) http://www.bitsofnews.com/content/view/154/42/
undated
Context: Close your bodily eye, so that you may see your picture first with the spiritual eye. Then bring to the light of day that which you have seen in the darkness so that it may react upon others from the outside inwards. A picture must not be invented but felt. Observe the form exactly, both the smallest and the large and do not separate the small from the large, but rather the trivial from the important.
Before showing test footage from the movie The Lost World, based upon his novel, as a trick at the annual meeting of the Society of American Magicians in 1922. The New York Times ran a story the next day: DINOSAURS CAVORT IN FILM FOR DOYLE SPIRITIST MYSTIFIES WORLD-FAMED MAGICIANS WITH PICTURES OF PREHISTORIC BEASTS — KEEPS ORIGIN A SECRET — MONSTERS OF OTHER AGES SHOWN, SOME FIGHTING, SOME AT PLAY, IN THEIR NATIVE JUNGLES
Context: These pictures are not occult, but they are psychic because everything that emanates from the human spirit or human brain is psychic. It is not supernatural; nothing is. It is preternatural in the sense that it is not known to our ordinary senses. It is the effect of the joining on the one hand of imagination, and on the other hand of some power of materialization. The imagination, I may say, comes from me — the materializing power from elsewhere.
The World's Religions (1991)
Context: The religions begin by assuring us that if we could see the full picture we would find it more integrated than we would normally suppose. Life gives us no view of the whole. [... ] It is as if life were a great tapestry, which we face from its wrong side. This gives it the appearance of a maze of knots and threads, which for the most part appear chaotic.
From a purely human standpoint the wisdom traditions are the species' most prolonged and serious attempts to infer from the maze on this side of the tapestry the pattern which, on its right side, gives meaning to the whole. As the beauty and harmony of the design derive from the way its parts are related, the design confers on these parts a significance that we, seeing only scraps of the design, do not normally perceive.
"On the Conservation of Force" (1862), p. 278
Popular Lectures on Scientific Subjects (1881)
Context: Every great deed of which history tells us, every mighty passion which art can represent, every picture of manners, of civic arrangements, of the culture of peoples of distant lands or of remote times, seizes and interests us, even if there is no exact scientific connection among them. We continually find points of contact and comparison in our own conceptions and feelings; we get to know the hidden capacities and desires of the mind, which in the ordinary peaceful course of civilised life remain unawakened.
It is not to be denied that, in the natural sciences, this kind of interest is wanting. Each individual fact, taken by itself, can indeed arouse our curiosity or our astonishment, or be useful to us in its practical applications. But intellectual satisfaction we obtain only from a connection of the whole, just from its conformity with law.
Source: Why We Fail as Christians (1919), p. 93-94
Context: Simple, direct, and clear as they [these words] are, Jesus later in the day undertook to make them more vivid.... that no one should doubt them or lack in fully understanding them, Jesus, after leaving the Temple, went to the Mount of Olives, and there explained the meaning of his words by a picture of the Day of Judgment.... He says that when the Son of Man shall come in his glory to the judgment seat, all the nations shall be gathered before him, "and he shall separate them one from another, as a shepherd divideth his sheep from the goats: And he shall set the sheep on his right hand, but the goats on the left. Then shall the King say unto them on his right hand, Come, ye blessed of my Father, inherit the kingdom prepared for you from the foundation of the world: For I was an hungred, and ye gave me meat: I was thirsty, and ye gave me drink: I was a stranger, and ye took me in: Naked, and ye clothed me: I was sick, and ye visited me: I was in prison, and ye came unto me." …And Jesus answers them "Verily I say unto you, Inasmuch as ye have done it unto one of the least of these my brethren, ye have done it unto me" …Surely it is worthy of note that Jesus does not indicate that the sheep will be questioned as to their sect or creed.... Moreover, the sheep are not even spoken of as the faithful or as the believers; they are simply those who love their fellow-men and therefore they are unconsciously righteous. Turning to the goats, he does not ask them either as to their faith, but as they had not fed the hungry, nor given drink to the thirsty, nor taken any stranger in, they are condemned to "everlasting fire."
Source: The Book of Nothing (2009), chapter nought "Nothingology—Flying to Nowhere"
Technopoly: the Surrender of Culture to Technology (1992)
Context: Who knows what schools will be like twenty-five years from now? Or fifty? In time, the type of student who is currently a failure may be considered a success. The type who is now successful may be regarded as a handicapped learner — slow to respond, far too detached, lacking in emotion, inadequate in creating mental pictures of reality. Consider: what Thamus called the "conceit of wisdom" — the unreal knowledge acquired through the written word — eventually became the pre-eminent form of knowledge valued by the schools. There is no reason to suppose that such a form of knowledge must always remain so highly valued.
“Every picture you give me I save, and every colour you use is so true to you.”
"Everyday"
The Poets And The Prophet (2006)
Context: Every picture you give me I save, and every colour you use is so true to you. Every minute we spend I engrave, and every memory rethought is so new. There is trust that we must recognize. There is so much that we must learn to see and be, if we could only open our minds. Just grow with God and please be patient with me, and I will give you my life.
Source: The Great Divorce (1944–1945), Ch. 13
Context: "Ye can know nothing of the end of all things, or nothing expressible in those terms. It may be, as the Lord said to the Lady Julian, that all will be well, and all will be well, and all manner of things will be well. But it's ill talking of such questions."
"Because they are too terrible, Sir?"
"No. Because all answers deceive. If ye put the question from within Time and are asking about possibilities, the answer is certain. The choice of ways is before you. Neither is closed. Any man may choose eternal death. Those who choose it will have it. But if ye are trying to leap on into Eternity, if ye are trying to see the final state of all things as it will be (for so ye must speak) when there are no more possibilities left but only the Real, then ye ask what cannot be answered to mortal ears. Time is the very lens through which ye see — small and clear, as men see through the wrong end of a telescope — something that would otherwise be too big for ye to see at all. That thing is Freedom: the gift whereby ye most resemble your Maker and are yourselves parts of eternal reality. But ye can see it only through the lens of Time, in a little clear picture, through the inverted telescope. It is a picture of moments following one another and yourself in each moment making some choice that might have been otherwise. Neither the temporal succession nor the phantom of what ye might have chosen and didn't is itself Freedom. They are a lens. The picture is a symbol: but it's truer than any philosophical theorem (or, perhaps, than any mystic's vision) that claims to go behind it. For every attempt to see the shape of eternity except through the lens of Time destroys your knowledge of Freedom."
God Is An Iron (1977)
Context: I was putting together a picture of a life that would have depressed anyone with the sensitivity of a rhino. Back when I had first seen her, when her features were alive, she had looked sensitive. Or had that been a trick of the juice?
ibid.
Cited in: passionriver.com http://www.passionriver.com/blog/previous/32, 12-3-2013
Summation for the Prosecution, July 26, 1946
Quotes from the Nuremberg Trials (1945-1946)
Quotes, NYU Speech (2004)
Context: How did we get from September 12th, 2001, when a leading French newspaper ran a giant headline with the words "We Are All Americans Now" and when we had the good will and empathy of all the world — to the horror that we all felt in witnessing the pictures of torture in Abu Ghraib?
To begin with, from its earliest days in power, this administration sought to radically destroy the foreign policy consensus that had guided America since the end of World War II. The long successful strategy of containment was abandoned in favor of the new strategy of "preemption." And what they meant by preemption was not the inherent right of any nation to act preemptively against an imminent threat to its national security, but rather an exotic new approach that asserted a unique and unilateral U. S. right to ignore international law wherever it wished to do so and take military action against any nation, even in circumstances where there was no imminent threat. All that is required, in the view of Bush's team is the mere assertion of a possible, future threat — and the assertion need be made by only one person, the President.
1880s, Reminiscences (1881)
Context: In several respects, I consider my father as one of the most interesting men I have known. He was a man of perhaps the very largest natural endowment of any it has been my lot to converse with. None of us will ever forget that bold glowing style of his, flowing free from his untutored soul, full of metaphors (though he knew not what a metaphor was) with, all manner of potent words which he appropriated and applied with a surprising accuracy you often would not guess whence; brief, energetic, and which I should say conveyed the most perfect picture — definite, clear, not in ambitious colors, but in full white sunliglit — of all the dialects I have ever listened to. Nothing did I ever hear him undertake to render visible which, did not become almost ocularly so. Never shall we again hear such speech as that was. The whole district knew of it and laughed joyfully over it, not knowing how other-wise to express the feeling it gave them; emphatic I have heard him beyond all men. In anger he had no need of oaths, his words were like sharp arrows that smote into the very heart. The fault was that he exaggerated (which tendency I also inherit), yet only in description and for the sake chiefly of humorous effect.
The Open Conspiracy (1933)
Context: How far can we anticipate the habitations and ways, the usages and adventures, the mighty employments, the ever increasing knowledge and power of the days to come? No more than a child with its scribbling paper and its box of bricks can picture or model the undertakings of its adult years. Our battle is with cruelties and frustrations, stupid, heavy and hateful things from which we shall escape at last, less like victors conquering a world than like sleepers awaking from a nightmare in the dawn.... A time will come when men will sit with history before them or with some old newspaper before them and ask incredulously,"Was there ever such a world?"
Deeds Rather Than Words (1963)
Context: I don't believe in playing down to children, either in life or in motion pictures. I didn't treat my own youngsters like fragile flowers, and I think no parent should.
Children are people, and they should have to reach to learn about things, to understand things, just as adults have to reach if they want to grow in mental stature. Life is composed of lights and shadows, and we would be untruthful, insincere, and saccharine if we tried to pretend there were no shadows. Most things are good, and they are the strongest things; but there are evil things too, and you are not doing a child a favor by trying to shield him from reality. The important thing is to teach a child that good can always triumph over evil, and that is what our pictures attempt to do.
Stanza 3.
Lyrical Ballads (1798–1800), Lines written a few miles above Tintern Abbey (1798)
Context: And now, with gleams of half-extinguished thought,
With many recognitions dim and faint,
And somewhat of a sad perplexity,
The picture of the mind revives again:
While here I stand, not only with the sense
Of present pleasure, but with pleasing thoughts
That in this moment there is life and food
For future years. And so I dare to hope,
Though changed, no doubt, from what I was when first
I came among these hills;
As quoted in "The Gentle Philosopher" (2006) by John Little at Will Durant Foundation
Context: Perhaps the cause of our contemporary pessimism is our tendency to view history as a turbulent stream of conflicts — between individuals in economic life, between groups in politics, between creeds in religion, between states in war. This is the more dramatic side of history; it captures the eye of the historian and the interest of the reader. But if we turn from that Mississippi of strife, hot with hate and dark with blood, to look upon the banks of the stream, we find quieter but more inspiring scenes: women rearing children, men building homes, peasants drawing food from the soil, artisans making the conveniences of life, statesmen sometimes organizing peace instead of war, teachers forming savages into citizens, musicians taming our hearts with harmony and rhythm, scientists patiently accumulating knowledge, philosophers groping for truth, saints suggesting the wisdom of love. History has been too often a picture of the bloody stream. The history of civilization is a record of what happened on the banks.
Dr. Malcolm Long, Watchmen #6
Watchmen (1986–1987)
Context: I looked at the Rorschach blot. I tried to pretend it looked like a spreading tree, shadows pooled beneath it, but it didn’t. It looked more like a dead cat I once found, the fat, glistening grubs writhing blindly, squirming over each other, frantically tunneling away from the light. But even that is avoiding the real horror. The horror is this: In the end, it is simply a picture of empty meaningless blackness. We are alone. There is nothing else.
X magazine (1959-62)
Context: The interesting thing is what happens in the specific picture: its precision in terms of the sensations it produces — the illusion it creates and the effect of this illusion on the psychology opposed to it. General philosophical and technical information however interesting in itself is secondary to this reality.
The irony being that he is a New Zealand born Australian, who has often made clear his dislike of being in Hollywood.
GQ Interview (2005)
Context: That was the first conversation in my life that I’d ever heard the phrase Al Qaeda. And it was something to do with some recording picked up by a French policewoman, I think, in either Libya or Algiers. And it was a destabilization plan. I don’t think that I was the only person. But it was about—and here’s another little touch of irony— it was about taking iconographic Americans out of the picture as a sort of cultural-destabilization plan.
221
Fruits of Solitude (1682), Part I
Narcissus and Goldmund (1930)
Context: We fear death, we shudder at life's instability, we grieve to see the flowers wilt again and again, and the leaves fall, and in our hearts we know that we, too, are transitory and will soon disappear. When artists create pictures and thinkers search for laws and formulate thoughts, it is in order to salvage something from the great dance of death, to make something that lasts longer than we do.
What It Means to Be a Poet in America (1926)
Context: Whenever I begin to write a poem or draw a picture I am, in imagination, if not in reality, back in my room where I began to draw pen-and-ink pictures and write verses in my seventeenth year. Both windows of the room look down on the great Governor’s Yard of Illinois. This yard is a square block, a beautiful park. Our house is on so high a hill I can always look down upon the governor. Among my very earliest memories are those of seeing old Governor Oglesby leaning on his cane, marching about, calling his children about him.
Variant translation: One of the strongest motives that lead men to art and science is escape from everyday life with its painful crudity and hopeless dreariness, from the fetters of one's own ever-shifting desires. A finely tempered nature longs to escape from the personal life into the world of objective perception and thought. With this negative motive goes a positive one. Man seeks to form for himself, in whatever manner is suitable for him, a simplified and lucid image of the world, and so to overcome the world of experience by striving to replace it to some extent by this image. This is what the painter does, and the poet, the speculative philosopher, the natural scientist, each in his own way. Into this image and its formation, he places the center of gravity of his emotional life, in order to attain the peace and serenity that he cannot find within the narrow confines of swirling personal experience.
As quoted in The Professor, the Institute, and DNA (1976) by Rene Dubos; also in The Great Influenza (2004) by John M. Barry
1910s, Principles of Research (1918)
Context: Man tries to make for himself in the fashion that suits him best a simplified and intelligible picture of the world; he then tries to some extent to substitute this cosmos of his for the world of experience, and thus to overcome it. This is what the painter, the poet, the speculative philosopher, and the natural scientist do, each in his own fashion. Each makes this cosmos and its construction the pivot of his emotional life, in order to find in this way the peace and security which he cannot find in the narrow whirlpool of personal experience.
“The quantum revolution showed us why the old picture of a vacuum as an empty box was untenable.”
...Gradually, this exotic new picture of quantum nothingness succumbed to experimental exploration... in the form of vacuum tubes, light bulbs and X-rays. Now the 'empty' space itself started to be probed. ...There was always something left: a vacuum energy that permeated every fibre of the Universe.
Source: The Book of Nothing (2009), chapter nought "Nothingology—Flying to Nowhere"
“Use simple words, words that create pictures and action and that generate feeling.”
Source: How to Argue and Win Every Time (1995), Ch. 7 : The Power of Words, p. 104
Context: Words that do not create images should be discarded. Words that have no intrinsic emotional or visual content ought to be avoided. Words that are directed to the sterile intellectual head-place should be abandoned. Use simple words, words that create pictures and action and that generate feeling.
“Scientific pictures are often not just about science.”
Introduction
Cosmic Imagery: Key Images in the History of Science (2008)
Context: Scientific pictures are often not just about science. They may... have an undeniable aesthetic quality. They may even have been primarily works of art that possess a scientific message.
Source: Religion and the Rebel (1957), p. 309
Context: One cannot ignore half of life for the purposes of science, and then claim that the results of science give a full and adequate picture of the meaning of life. All discussions of 'life' which begin with a description of man's place on a speck of matter in space, in an endless evolutionary scale, are bound to be half-measures, because they leave out most of the experiences which are important to use as human beings.
Falsehood in Wartime (1928), Introduction
Context: A Government which has decided on embarking on the hazardous and terrible enterprise of war must at the outset present a one-sided case in justification of its action, and cannot afford to admit in any particular whatever the smallest degree of right or reason on the part of the people it has made up its mind to fight. Facts must be distorted, relevant circumstances concealed, and a picture presented which by its crude colouring will persuade the ignorant people that their Government is blameless, their cause is righteous, and that the indisputable wickedness of the enemy has been proved beyond question. A moment's reflection would tell any reasonable person that such obvious bias cannot possibly represent the truth. But the moment's reflection is not allowed; lies are circulated with great rapidity. The unthinking mass accept them and by their excitement sway the rest. The amount of rubbish and humbug that pass under the name of patriotism in war-time in all countries is sufficient to make decent people blush when they are subsequently disillusioned.
“All this is not a pleasant prospective picture for the aspirant for the honors of the magician.”
As quoted in Cosmopolitan (December 1892).
Context: A so-called magician, more than a poet, must be born with a peculiar aptitude for the calling. He must first of all possess a mind of contrarieties, quick to grasp the possibilities of seemingly producing the most opposite effects from the most natural causes. He must be original and quick-witted, never to be taken unawares. He must possess, in no small degree, a knowledge of the exact sciences, and he must spend a lifetime in practice, for in the profession its emoluments come very slowly. All this is discouraging enough, but this is not all. The magician must expect the exposure of his tricks sooner or later, and see what it has required long months of study and time to perfect dissolved in an hour. The very best illusions of the best magicians of a few years ago are now the common property of traveling showmen at country fairs. I might instance the mirror illusions of Houdin; the cabinet trick of the Davenport Brothers, and the second sight of Heller — all the baffling puzzles of the days in which the respective magicians mentioned lived. All this is not a pleasant prospective picture for the aspirant for the honors of the magician.
Quotes, The Assault on Reason (2007)
Context: It is well documented that humans are especially fearful of threats that can be easily pictured or imagined. For example, one study found that people are willing to spend significantly more for flight insurance that covers "death by terrorism" than for flight insurance that covers "death by any cause." Now, logically, flight insurance for death by any cause would cover terrorism in addition to a number of other potential problems. But something about the buzzword terrorism creates a vivid impression that generates excessive fear.
A Theory of Roughness (2004)
Context: For many years I had been hearing the comment that fractals make beautiful pictures, but are pretty useless. I was irritated because important applications always take some time to be revealed. For fractals, it turned out that we didn't have to wait very long. In pure science, fads come and go. To influence basic big-budget industry takes longer, but hopefully also lasts longer.
“A painter paints his pictures on canvas. But musicians paint their pictures on silence.”
Addressing an audience at Carnegie Hall, as quoted in The New York Times (11 May 1967); often this is quoted without the humorous final sentence.
Context: A painter paints his pictures on canvas. But musicians paint their pictures on silence. We provide the music, and you provide the silence.
Deeds Rather Than Words (1963)
Context: I don't believe in playing down to children, either in life or in motion pictures. I didn't treat my own youngsters like fragile flowers, and I think no parent should.
Children are people, and they should have to reach to learn about things, to understand things, just as adults have to reach if they want to grow in mental stature. Life is composed of lights and shadows, and we would be untruthful, insincere, and saccharine if we tried to pretend there were no shadows. Most things are good, and they are the strongest things; but there are evil things too, and you are not doing a child a favor by trying to shield him from reality. The important thing is to teach a child that good can always triumph over evil, and that is what our pictures attempt to do.
Regarding his oft-cited quote stating that actors are cattle; as paraphrased and quoted in "Town Called Hollywood: Director Pleads Off Poundage" http://www.mediafire.com/view/ix2ammmxkb3flqx/Screen%20Shot%202018-09-11%20at%2012.56.17%20AM.png by Philip K. Scheuer, in The Los Angeles Times (30 May 1943).
Context: [T]he director passed off the phrase as one of his "Machiavellian quips," not to be taken seriously. "Let us say, rather, that actors are a necessary evil," he cautioned, with a straight face. "As a matter of fact, I couldn't work if I weren't on friendly terms with them; I'll bend over backward every time. Besides, I get into each picture I make, if only for a couple of seconds—so I'm probably a frustrated actor at heart myself."
Five Essays on Liberty (2002), From Hope and Fear Set Free (1964)
Context: Knowledge increases autonomy both in the sense of Kant, and in that of Spinoza and his followers. I should like to ask once more: is all liberty just that? The advance of knowledge stops men from wasting their resources upon delusive projects. It has stopped us from burning witches or flogging lunatics or predicting the future by listening to oracles or looking at the entrails of animals or the flight of birds. It may yet render many institutions and decisions of the present – legal, political, moral, social – obsolete, by showing them to be as cruel and stupid and incompatible with the pursuit of justice or reason or happiness or truth as we now think the burning of widows or eating the flesh of an enemy to acquire skills. If our powers of prediction, and so our knowledge of the future, become much greater, then, even if they are never complete, this may radically alter our view of what constitutes a person, an act, a choice; and eo ipso our language and our picture of the world. This may make our conduct more rational, perhaps more tolerant, charitable, civilised, it may improve it in many ways, but will it increase the area of free choice? For individuals or groups?
Letter to F.W Weber (1950); published in New York—Pennsylvania Collector (8 August 1991)
Context: How do ideas come? What a question! If they come of their own accord, they are apt to arrive at the most unexpected time and place. For the most part the place is out of doors, for up in this northern wilderness when nature puts on a show it is an inspiring one. There seem to be magic days once in a while, with some rare quality of light that hold a body spellbound: In sub-zero weather there will be a burst of unbelievable color when the mountain turns a deep purple, a thing it refuses to do in summer. Then comes the hard part: how to plan a picture so as to give to others what has happened to you. To render in paint an experience, to suggest the sense of light and color, air and space, there is no such thing as sitting down outside and trying to make a “portrait” of it. It lasts for only a minute, for one thing, and it isn’t an inspiration that can be copied on the spot...
Nature and the Greeks (1954)
Context: I am very astonished that the scientific picture of the real world around me is deficient. It gives a lot of factual information, puts all our experience in a magnificently consistent order, but it is ghastly silent about all and sundry that is really near to our heart, that really matters to us. It cannot tell us a word about red and blue, bitter and sweet, physical pain and physical delight; it knows nothing of beautiful and ugly, good or bad, God and eternity. Science sometimes pretends to answer questions in these domains, but the answers are very often so silly that we are not inclined to take them seriously.
Source: Shade's Children (1997), p. 9.
Context: Gold-Eye's Change Vision suddenly gripped him, showing him a picture of the unpleasantly close future, the soon-to-be-now.
Doors slid open at each end of the carriage, forced apart by metal-gauntleted hands four times the size of Gold-Eye's own. Fog no longer fell in lazy swirls, but danced and spiraled crazily as huge shapes lumbered in, moving to the pile of blankets...
Gold-Eye didn't wait to see more. He came out of the vision and took the escape route he'd planned months before, when he'd first found the carriage. Lifting a trapdoor in the floor, he dropped down, down to the cold steel rails.
Part 4, Section 7
A Treatise of Human Nature (1739-40), Book 1: Of the understanding
Context: I am first affrighted and confounded with that forelorn solitude, in which I am plac'd in my philosophy, and fancy myself some strange uncouth monster, who not being able to mingle and unite in society, has been expell'd all human commerce, and left utterly abandon'd and disconsolate. Fain wou'd I run into the crowd for shelter and warmth; but cannot prevail with myself to mix with such deformity. I call upon others to join me, in order to make a company apart; but no one will hearken to me. Every one keeps at a distance, and dreads that storm, which beats upon me from every side. I have expos'd myself to the enmity of all metaphysicians, logicians, mathematicians, and even theologians; and can I wonder at the insults I must suffer? I have declar'd my disapprobation of their systems; and can I be surpriz'd, if they shou'd express a hatred of mine and of my person? When I look abroad, I foresee on every side, dispute, contradiction, anger, calumny and detraction. When I turn my eye inward, I find nothing but doubt and ignorance. All the world conspires to oppose and contradict me; tho' such is my weakness, that I feel all my opinions loosen and fall of themselves, when unsupported by the approbation of others. Every step I take is with hesitation, and every new reflection makes me dread an error and absurdity in my reasoning.
For with what confidence can I venture upon such bold enterprises, when beside those numberless infirmities peculiar to myself, I find so many which are common to human nature? Can I be sure, that in leaving all established opinions I am following truth; and by what criterion shall I distinguish her, even if fortune shou'd at last guide me on her foot-steps? After the most accurate and exact of my reasonings, I can give no reason why I shou'd assent to it; and feel nothing but a strong propensity to consider objects strongly in that view, under which they appear to me. Experience is a principle, which instructs me in the several conjunctions of objects for the past. Habit is another principle, which determines me to expect the same for the future; and both of them conspiring to operate upon the imagination, make me form certain ideas in a more intense and lively manner, than others, which are not attended with the same advantages. Without this quality, by which the mind enlivens some ideas beyond others (which seemingly is so trivial, and so little founded on reason) we cou'd never assent to any argument, nor carry our view beyond those few objects, which are present to our senses. Nay, even to these objects we cou'd never attribute any existence, but what was dependent on the senses; and must comprehend them entirely in that succession of perceptions, which constitutes our self or person. Nay farther, even with relation to that succession, we cou'd only admit of those perceptions, which are immediately present to our consciousness, nor cou'd those lively images, with which the memory presents us, be ever receiv'd as true pictures of past perceptions. The memory, senses, and understanding are, therefore, all of them founded on the imagination, or the vivacity of our ideas.
“The picture-story involves a joint operation of the brain, the eye and the heart.”
The Decisive Moment (1952), p. i; also in The Mind's Eye (1999)
Context: The picture-story involves a joint operation of the brain, the eye and the heart. The objective of this joint operation is to depict the content of some event which is in the process of unfolding, and to communicate impressions. Sometimes a single event can be so rich in itself and its facets that it is necessary to move all around it in your search for the solution to the problems it poses — for the world is movement, and you cannot be stationary in your attitude toward something that is moving. Sometimes you light upon the picture in seconds; it might also require hours or days. But there is no standard plan, no pattern from which to work.
The Age of Empathy (2009), p. 6
Context: Don’t believe anyone who says that since nature is based on a struggle for life, we need to live like this as well. Many animals survive not by eliminating each other or by keeping everything for themselves, but by cooperating and sharing. This applies most definitely to pack hunters, such as wolves or killer whales, but also our closest relatives, the primates. In a study in Taï National Park, in Ivory Coast, chimpanzees took care of group mates wounded by leopards, licking their blood, carefully removing dirt, and waving away flies that came near the wounds. They protected injured companions, and slowed down during travel in order to accommodate them. All of this makes perfect sense given that chimpanzees live in groups for a reason, the same way wolves and humans are group animals for a reason. If man is wolf to man, he is so in every sense, not just the negative one. We would not be where we are today had our ancestors been socially aloof. What we need is a complete overhaul of assumptions about human nature. Too many economists and politicians model human society on the perpetual struggle they believe exists in nature, but which is a mere projection. Like magicians, they first throw their ideological prejudices into the hat of nature, then pull them out by their very ears to show how much nature agrees with them. It’s a trick for which we have fallen for too long. Obviously, competition is part of the picture, but humans can’t live by competition alone.
The world is his, time is his, and I'm nothing but an insect.
Regina to herself, p. 28
All Men are Mortal (1946)
Mary Douglas and B. Isherwood (1979). The World of Goods: Towards an Anthropology of Consumption. London, Allen Lane, page 63.
The Marshall Plan Speech (1947)
Context: An essential part of any successful action on the part of the United States is an understanding on the part of the people of America of the character of the problem and the remedies to be applied. Political passion and prejudice should have no part. With foresight, and a willingness on the part of our people to face up to the vast responsibility which history has clearly placed upon our country, the difficulties I have outlined can and will be overcome.... to my mind, it is of vast importance that our people reach some general understanding of what the complications really are, rather than react from a passion or a prejudice or an emotion of the moment. As I said more formally a moment ago, we are remote from the scene of these troubles. It is virtually impossible at this distance merely by reading, or listening, or even seeing photographs or motion pictures, to grasp at all the real significance of the situation. And yet the whole world of the future hangs on a proper judgment.
Segment 144
Peoples Archive interview
Context: The extraordinary surprise that my first pictures provoked is unlikely to be continued. Many people saw them fifteen years ago, ten years ago. Now children see it on their computers when the computers do nothing else. The surprise is not there. The shock of novelty is not there. Therefore the unity that the shock of novelty, surprise, provided to all these activities will not continue. People will know about fractals earlier and earlier, more and more progressively. I think that the best future to expect and perhaps also the best future to hope for, is that fractal ideas will remain either as a peripheral or as a central tool in very many fields.
Obstacles on the Way toward the Quantization of Space, Time and Matter — and possible resolutions — http://www.staff.science.uu.nl/~hooft101/gthpub/foundations.pdf
Context: The usual no-go theorems telling us that hidden variables are irreconcilable with locality, appear to start with fairly conventional pictures of particle systems, detectors, space and time. Usually, it is taken for granted that events at one place in the universe can be described independently from what happens elsewhere. Perhaps one has to search for descriptions where the situation is more complex. Maybe, it needs not be half as complex as superstring theory itself. The conventional Copenhagen interpretation of quantum mechanics suffices to answer all practical questions concerning conventional experiments with quantum mechanics, and the outcome of experiments such as that of Aspect et al can be precisely predicted by conventional quantum mechanics. This is used by some to state that no additional interpretation prescriptions for quantum mechanics are necessary. Yet we insist that the axioms for any "complete" quantum theory for the entire cosmos would present us with as yet unresolved paradoxes.
