Quotes about present
page 37

Piet Joubert photo

“This museum is a torpedo moving through time, its head the ever-advancing present, its tail the ever-receding past of 50 to 100 years ago.”

Alfred Barr (1902–1981) American art historian

On the Museum of Modern Art, Newsweek (June 1, 1964).

Johann Gottlieb Fichte photo
John Newton photo
George Holmes Howison photo
Davey Havok photo
George Bernard Shaw photo
Averroes photo
Wallace Stevens photo
Paul Bernays photo

“Enlightened humanity has sought in rational definiteness its liberating refuge from the dominating influence of the merely authoritative. At the present time, however, this has for a large part been lost to consciousness, and to many people scientific validity that has to be acknowledged appears as an oppressing authority.”

Paul Bernays (1888–1977) Swiss mathematician

Bernays, Paul. " Comments on Ludwig Wittgenstein's Remarks on the foundations of mathematics http://www.phil.cmu.edu/projects/bernays/Pdf/wittgenstein.pdf." Ratio 2.1 (1959): 1-22.

Hermann Weyl photo
Albert Camus photo
Martin Luther King, Jr. photo
Anthony Burgess photo
Charles Edward Merriam photo
Chinmayananda Saraswati photo
James Martineau photo
André Maurois photo
William T. Sherman photo

“I beg to present you as a Christmas gift the City of Savannah, with one hundred and fifty guns and plenty of ammunition, also about twenty-five thousand bales of cotton.”

William T. Sherman (1820–1891) American General, businessman, educator, and author.

Telegraph to Abraham Lincoln (December 1864), as quoted in Southern Storm: Sherman's March to the Sea https://en.wikipedia.org/wiki/Special:BookSources/0940450658 (2008), by Noah Andre Trudeau, New York: HarperCollins, p. 508.
1860s, 1864, Telegram to Abraham Lincoln (December 1864)

Fausto Cercignani photo

“Your identity is like your shadow: not always visible and yet always present.”

Fausto Cercignani (1941) Italian scholar, essayist and poet

Examples of self-translation (c. 2004), Quotes - Zitate - Citations - Citazioni

Andrew Ure photo
Daniel Buren photo
Anatole France photo
Gaio Valerio Catullo photo

“To whom am I to present my pretty new book, freshly smoothed off with dry pumice stone?”
Cui dono lepidum novum libellum Arido modo pumice expolitum?

I, lines 1–2
Carmina

Calvin Coolidge photo
Abraham Pais photo

“Deliberately or not, every author is of course present in every book he or she writes — even in a scientific text.”

Abraham Pais (1918–2000) American Physicist

Prologue, p. xv
A Tale of Two Continents (1997)

Don Soderquist photo

“Culture is the personality of an organization. Therefore, culture governs much of how people think, act, interact, with others, and do their work. It is extremely powerful in determining the present and continuing success and the future direction of any organization Culture can literally determine whether a company has a future.”

Don Soderquist (1934–2016)

Don Soderquist “ The Wal-Mart Way: The Inside Story of the Success of the World's Largest Company https://books.google.com/books?id=mIxwVLXdyjQC&lpg=PR9&dq=Don%20Soderquist&pg=PR9#v=onepage&q=Don%20Soderquist&f=false, Thomas Nelson, April 2005, p. 27.
On the Importance of Culture

“Total actions are a further development of the happening and combine the elements of all art forms, painting music, literature, film, theatre, which have been so infected by the progressive process of cretinisation in our society that any examination of reality has become impossible using these means alone. Total actions are the unprejudiced examination of all the materials that make up reality. Total actions take place in a consciously delineated area of reality with deliberately selected materials. They are partial, dynamic occurrences in which the most varied materials and elements of reality are linked, swapped over, turn on their heads and destroyed. This procedure creates the occurrence. The actual nature of the occurrence depends on the composition of the material and actors′ unconscious tendencies. Anything may constitute the material: people, animals, plants, food, space, movement, noise, smells, light, fire, coldness, warmth, wind, dust, steam, gas, events, sport, all art forms and all art products. All the possibilities of the material are ruthlessly exhausted. As a result of the incalculable possibilities for choices that the material presents to the actor, he plunges into a concentrated whirl of action finds himself suddenly in a reality without barriers, performs actions resembling those of a madman, and avails himself of a fool′s privileges, which is probably not without significance for sensible people. Old art forms seek to reconstruct reality, total actions unfold within reality itself. Total actions are direct occurrences(direct art), not the repetition of an occurrence, a direct encounter between unconscious elements and reality(material). The actor performs and himself becomes material: stuttering, stammering, burbling, groaning, choking, shouting, screeching, laughing, spitting, biting, creeping, rolling about in the material.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 166 (1966/1972)

“From the balance of the past, we have been lea to the great injustice of the present.”

Constantinos Apostolou Doxiadis (1914–1975) Greek architect

Source: Building Entopia - 1975, Chapter 5, The road to Entopia, p. 60

Ellen G. White photo

“Let Daniel speak, let the Revelation speak, and tell what is truth. But whatever phase of the subject is presented, uplift Jesus as the center of all hope.”

Ellen G. White (1827–1915) American author and founder/leader of the Seventh-Day Adventist Church

Vol. 6, p. 62
Testimonies for the Church (1855 - 1868)

“For a moment hope, bright and cruel as a knife, presented itself to me. It took every ounce of strength I had to turn away.”

Sarah Zettel (1966) American writer

Source: Bitter Angels (2009), Chapter 7 (p. 97)

TotalBiscuit photo

“I now present to you the fairest maiden—what the hell is wrong with your face?”

TotalBiscuit (1984–2018) British game commentator

WTF Is…? series, Guise of the Wolf (January 26, 2014)

Charles James Fox photo
Maimónides photo

“There are seven causes of inconsistencies and contradictions to be met with in a literary work. The first cause arises from the fact that the author collects the opinions of various men, each differing from the other, but neglects to mention the name of the author of any particular opinion. In such a work contradictions or inconsistencies must occur, since any two statements may belong to two different authors. Second cause: The author holds at first one opinion which he subsequently rejects: in his work, however, both his original and altered views are retained. Third cause: The passages in question are not all to be taken literally: some only are to be understood in their literal sense, while in others figurative language is employed, which includes another meaning besides the literal one: or, in the apparently inconsistent passages, figurative language is employed which, if taken literally, would seem to be contradictories or contraries. Fourth cause: The premises are not identical in both statements, but for certain reasons they are not fully stated in these passages: or two propositions with different subjects which are expressed by the same term without having the difference in meaning pointed out, occur in two passages. The contradiction is therefore only apparent, but there is no contradiction in reality. The fifth cause is traceable to the use of a certain method adopted in teaching and expounding profound problems. Namely, a difficult and obscure theorem must sometimes be mentioned and assumed as known, for the illustration of some elementary and intelligible subject which must be taught beforehand the commencement being always made with the easier thing. The teacher must therefore facilitate, in any manner which he can devise, the explanation of those theorems, which have to be assumed as known, and he must content himself with giving a general though somewhat inaccurate notion on the subject. It is, for the present, explained according to the capacity of the students, that they may comprehend it as far as they are required to understand the subject. Later on, the same subject is thoroughly treated and fully developed in its right place. Sixth cause: The contradiction is not apparent, and only becomes evident through a series of premises. The larger the number of premises necessary to prove the contradiction between the two conclusions, the greater is the chance that it will escape detection, and that the author will not perceive his own inconsistency. Only when from each conclusion, by means of suitable premises, an inference is made, and from the enunciation thus inferred, by means of proper arguments, other conclusions are formed, and after that process has been repeated many times, then it becomes clear that the original conclusions are contradictories or contraries. Even able writers are liable to overlook such inconsistencies. If, however, the contradiction between the original statements can at once be discovered, and the author, while writing the second, does not think of the first, he evinces a greater deficiency, and his words deserve no notice whatever. Seventh cause: It is sometimes necessary to introduce such metaphysical matter as may partly be disclosed, but must partly be concealed: while, therefore, on one occasion the object which the author has in view may demand that the metaphysical problem be treated as solved in one way, it may be convenient on another occasion to treat it as solved in the opposite way. The author must endeavour, by concealing the fact as much as possible, to prevent the uneducated reader from perceiving the contradiction.”

Guide for the Perplexed (c. 1190), Introduction

Austen Chamberlain photo
Karl Barth photo
Lyndon LaRouche photo
Kim Stanley Robinson photo
Roger Ebert photo
Guy Debord photo
Virchand Gandhi photo

“The central ideas of Christianity, an angry God and vicarious atonement, are contrary to every fact in nature, as also to the better aspirations of the human heart; they are, in our present stage of enlightenment, absurd, preposterous, and blasphemous propositions.”

Virchand Gandhi (1864–1901) Jain scholar who represented Jainism at the first World Parliament of Religions in 1893

Christian Missions: A Triangular Debate, Before the Nineteenth Century Club of New York (1895)

Otto Lilienthal photo
Yukio Mishima photo
Jeff Foxworthy photo
Slavoj Žižek photo

“[A] paradox arises at the level of the subject's relationship to the community to which he belongs: the situation of the forced choice consists in the fact that the subject must freely choose the community to which he already belongs, independent of his choice - he must choose what is already given to him… The subject who thinks he can avoid this paradox and really have a free choice is a psychotic subject, one who retains a kind of distance from the symbolic order - who is not really caught in the signifying network. The totalitarian subject is closer to this psychotic position: the proof would be the status of the enemy in totalitarian distance (the Jew in Fascism, the traitor in Stalinism) - precisely the subject supposed to have made a free choice and to have freely chosen the wrong side. This is also the basic paradox of love: not only of one's country, but also of a woman or a man. If I am directly ordered to love a woman, it is clear that this does not work: in a way, love must be free. But on the other hand, if I proceed as if I really have a free choice, if I start to look around and say to myself 'Let's choose which of these women I will fall in love with,' it is clear that this also does not work, that it is not real love. The paradox of love is that it is a free choice, but a choice which never arrives in the present - it is always already made …I can only state retroactively that I've already chosen … [Stated by Kant], 'Wickedness does not simply depend upon circumstances but is an integral part of his eternal nature.”

In other words, wickedness appears to be something which is irreducibly given: the person in question can never change it, outgrow it via his ultimate moral development.
186-187
The Sublime Object of Ideology (1989)

François Fénelon photo

“Don't be afraid of your past. Learn from it so it can empower your present.”

Source: Life, the Truth, and Being Free (2010), p. 35

Jean-François Revel photo
Max Horkheimer photo

“The basic ideals and concepts of rationalist metaphysics were rooted in the concept of the universally human, of mankind, and their formalization implies that they have been severed from their human content. How this dehumanization of thinking affects the very foundations of our civilization can be illustrated by analysis of the principle of the majority, which is inseparable from the principle of democracy. In the eyes of the average man, the principle of the majority is often not only a substitute for but an improvement upon objective reason: since men are after all the best judges of their own interests, the resolutions of a majority, it is thought, are certainly as valuable to a community as the intuitions of a so-called superior reason. … What does it mean to say that “a man knows his own interests best”—how does he gain this knowledge, what evidences that his knowledge is correct? In the proposition, “A man knows [his own interests] best,” there is an implicit reference to an agency that is not totally arbitrary … to some sort of reason underlying not only means but ends as well. If that agency should turn out to be again merely the majority, the whole argument would constitute a tautology. The great philosophical tradition that contributed to the founding of modern democracy was not guilty of this tautology, for it based the principles of government upon … the assumption that the same spiritual substance or moral consciousness is present in each human being. In other words, respect for the majority was based on a conviction that did not itself depend on the resolutions of the majority.”

Source: Eclipse of Reason (1947), pp. 26-27.

Jeff VanderMeer photo
Marshall McLuhan photo

“The present volume to this point might be regarded as a gloss on a single text of Harold Innis: "The effect of the discovery of printing was evident in the savage religious wars of the sixteenth and seventeenth centuries. Application of power to communication industries hastened the consolidation of vernaculars, the rise of nationalism, revolution, and new outbreaks of savagery in the twentieth century."”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, The Gutenberg Galaxy (1962), p. 216; McLuhan here quotes "Minerva's Owl" (1947), by Innis, an address to the Royal Society of Canada, published in The Bias of Communication (1951)

Marsden Hartley photo

“The essential of a real picture is that the things which occur in it occur to him in his peculiarly personal fashion.... the idea of modernity is but a new attachment of things universal – a fresh relationship to the courses of the sun and to the living swing of the earth – a new fire of affection for the living essence present everywhere.”

Marsden Hartley (1877–1943) American artist

statement for catalogue of 1914 exhibition at 291, reprinted in On art, p. 62; as quoted in Marsden Hartley, by Gail R. Scott, Abbeville Publishers, Cross River Press, 1988, New York p. 49
1908 - 1920

El Greco photo

“We never escape our past. It is mirrored in our present. It repeats itself in our future.”

Morris West (1916–1999) Australian writer

Marius Melville in Ch. 17
Cassidy (1986)

William H. Seward photo
Al Gore photo
Vera Farmiga photo
José Ortega Y Gasset photo
Norman Mailer photo

“I think it's bad to talk about one's present work, for it spoils something at the root of the creative act. It discharges the tension.”

Norman Mailer (1923–2007) American novelist, journalist, essayist, playwright, film maker, actor and political candidate

As quoted in The Writer's Quotation Book : A Literary Companion (1980) by James Charlton, p. 43

Friedrich Wilhelm Joseph Schelling photo
Max Horkheimer photo
Werner Herzog photo
Piet Mondrian photo
Calvin Coolidge photo
Cristoforo Colombo photo
Richard Feynman photo

“One of the first interesting experiences I had in this project at Princeton was meeting great men. I had never met very many great men before. But there was an evaluation committee that had to try to help us along, and help us ultimately decide which way we were going to separate the uranium. This committee had men like Compton and Tolman and Smyth and Urey and Rabi and Oppenheimer on it. I would sit in because I understood the theory of how our process of separating isotopes worked, and so they'd ask me questions and talk about it. In these discussions one man would make a point. Then Compton, for example, would explain a different point of view. He would say it should be this way, and he was perfectly right. Another guy would say, well, maybe, but there's this other possibility we have to consider against it.

So everybody is disagreeing, all around the table. I am surprised and disturbed that Compton doesn't repeat and emphasize his point. Finally at the end, Tolman, who's the chairman, would say, "Well, having heard all these arguments, I guess it's true that Compton's argument is the best of all, and now we have to go ahead."

It was such a shock to me to see that a committee of men could present a whole lot of ideas, each one thinking of a new facet, while remembering what the other fella said, so that, at the end, the decision is made as to which idea was the best -- summing it all up -- without having to say it three times. These were very great men indeed.”

Richard Feynman (1918–1988) American theoretical physicist

from the First Annual Santa Barbara Lectures on Science and Society, University of California at Santa Barbara (1975)

Hans Haacke photo

“I have a particular interest in corporations that give themselves a cultural aura and are in other areas suspect. Philip Morris presents itself in New York as the lover of culture while it turns out that if you look behind the scenes, it is also a prime funder of Jesse Helms, someone who is very hostile to the arts.”

Hans Haacke (1936) conceptual political artist

Hans Haacke in: Roberta Smith "A Giant artistic Gibe at Jesse Helms," in New York Times, April 20, 1990; Republished in: The New York Times Guide to the Arts of the 20th Century: 1900-1929, (2002) p. 2929
1990s

Harriet Beecher Stowe photo

“The past, the present and the future are really one: they are today.”

Harriet Beecher Stowe (1811–1896) Abolitionist, author

Attributed

Robert Rauschenberg photo

“Every minute everything is different everywhere. It is all flowing... The duty or beauty of a painting is that there is no reason to do it nor any reason not to. It can be done as a direct act or contact with the moment and that is the moment you are awake and moving. It all passes and is never true literally as the present again leaving more work to be done.”

Robert Rauschenberg (1925–2008) American artist

Quote of Rauschenberg (1961), as cited in Introduction, Roberta Bernstein, from catalog 'The White and Black Paintings'
from a recording of a symposium in 1961, Larry Gagosian Gallery, New York, 1986
1960's

“Historical studies of the sciences tend to adopt one of two rather divergent points of view. One of these typically looks at historical developments in a discipline from the inside. It is apt to take for granted many of the presuppositions that are currently popular among members of the discipline and hence tends to view the past in terms of gradual progress toward a better present. The second point of view does not adopt its framework of issues and presuppositions from the field that is the object of study but tends nowadays to rely heavily on questions and concepts derived from studies in the history, philosophy, and sociology of science. A history written from the insider's point of view always conveys a strong sense of being "our" history. That is not the case with the second type of history, whose tone is apt to be less celebratory and more critical.
In the case of the older sciences, histories of the second type have for many years been the province of specialists in the history, philosophy, or sociology of science. This is not, or perhaps not yet, the case for psychology, whose history has to a large extent been left to psychologists to pursue. Accordingly, insiders' histories have continued to have a prominence they have long lost in the older sciences. Nevertheless, much recent work in the history of psychology has broken with this tradition.”

Kurt Danziger (1926) German academic

Source: Constructing the subject: Historical origins of psychological research. 1994, p. vii; Preface.

Christopher Gérard photo
William Bateson photo
Charlton Heston photo
Bram van Velde photo

“There is only the present. A painting is an instant of time that has escaped oblivion.”

Bram van Velde (1895–1981) Dutch painter

1970's, Conversations with Samuel Beckett and Bram van Velde (1970 - 1972)

Chris Hedges photo
Stephen Sondheim photo

“Without question, Steve is the best Broadway lyricist, past or present.”

Stephen Sondheim (1930) American composer and lyricist

Source: Arthur Laurents; in Halliwell's Who's Who in the Movies (2001 ed): Art. Stephen Sondheim p. 408

Joseph Massad photo
Robert Gascoyne-Cecil, 3rd Marquess of Salisbury photo

“Mr Mayor and gentlemen - I have great pleasure in associating myself in how ever humble and transitory manner with this great and splendid undertaking. I am glad to be associated with an enterprise which I hope will carry still further the prosperity and power of Liverpool, and which will carry down the name of Liverpool to posterity as the place where a great mechanical undertaking first found its home. Sir William Forwood has alluded to the share which this city took in the original establishment of railways. My memory does not quite carry me back to the melancholy event by which that opening was signalised, but I can remember that which presents to my mind a strange contrast with the present state of things. Almost the earliest thing I can recollect is being brought down here to my mother's house which is close in the neighbourhood, and we took two days on the road, and had to sleep half way. Comparing that with my journey yesterday I feel what an enormous distance has been traversed in the interval, and perhaps a still larger distance and a still more magnificent rate of progress will be achieved before a similar distance of time has elapsed from the present day. I will not detain you in a room where it is perhaps difficult to hear. Of all my oratorical efforts, the one which I find most difficult to achieve is that of competing with a steam engine. Occasionally you are invited to do it at railway stations, and I know distinguished statesmen who do it with effect, but I think I have never ventured to compete in that line. I will therefore, though with some fear and trembling, fulfil the injunctions of Sir William Forwood, and proceed to handle the electric machinery which is to set this line in motion. I only hope the result will be no different from what he anticipates.”

Robert Gascoyne-Cecil, 3rd Marquess of Salisbury (1830–1903) British politician

At the opening of the Liverpool Overhead Railway, 4 February 1893. Quoted in the Liverpool Echo of the same day, p. 3
1890s

Koenraad Elst photo
Gautama Buddha photo
Woodrow Wilson photo
Jean Paul Sartre photo
Jeremy Corbyn photo