Quotes about rhythm
page 2

“The poem, a harmonious flow of nuances, demands a musical rhythm, Vers libre.”

F. S. Flint (1885–1960) English Imagist poet

Contemporary French Poetry, The Poetry Review, 1914

“To anyone brought up when English literature, scripture, liturgy, poetry and hymns were still taught and learned, it is astonishing to find out how little they have in common with those who were raised and educated in the post-revolutionary culture. The pre-revolutionary survivor can finish other people's sentences, detect the rhythm in other people's speeches, recognise a score of allusions in a page of print. There is hardly a word or phrase which does not awake a richer thought, or an echo of something hauntingly similar.”

Peter Hitchens (1951) author, journalist

Source: From 'The Abolition of Britain' (1999), p.196

People, Education, Literature, Learning

“Rhythm is everything in boxing. Every move you make starts with your heart, and that's in rhythm or you're in trouble.”

Sugar Ray Robinson (1921–1989) American boxer

Ray Robinson 'Sugar Ray Robinson with Dave Anderson' page 75

Heart, Box

“He taught himself to write, retyping books by writers he admired: Steinbeck, Hemingway, Faulkner… the usual heavyweights. He said he wanted to get inside the rhythm of their language and find his own stlye.”

William McKeen (1954) American academic

Preface, The End, p. xv
Outlaw Journalist (2008)

Books

“Beatles' "aryan" music removed any trace of black music from rock and roll: it replaced syncopated african rhythm with linear western melody, and lusty negro attitudes with cute white-kid smiles.”

Piero Scaruffi (1955) Italian writer

Beatles The History of Rock Music http://www.scaruffi.com/vol1/beatles.html

Smile, Music

“An artist who sees that the imitation of natural appearances, however artistic, is not for him – the kind of creative artist who wants to, and has to express his own inner world – sees with envy how naturally and easily such goals can be attained in music, the least material of the arts today. Understandably, he may turn toward it and try to find the same means in his own art. Hence the current search for rhythm in painting, for mathematical abstract construction.... the way colors are set in motion, etc.”

Wassily Kandinsky (1866–1944) Russian painter

1910 - 1915
Source: On the Spiritual in Art, 1911; as quoted in Schönberg and Kandinsky: An Historic Encounter, by Klaus Kropfinger; edited by Konrad Boehmer; published by Routledge (imprint of Taylor & Francis, an informal company), 2003, p. 15

World, Art, Music, Color

“Half of the human race lives in manifest obedience to the lunar rhythm; and there is evidence to show that the psychological and therefore the spiritual life, not only of women, but of men too, mysteriously ebbs and flows with the changes of the moon. There are unreasoned joys, inexplicable miseries, laughters and remorses without a cause. Their sudden and fantastic alternations constitute the ordinary weather of our minds. These moods, of which the more gravely numinous may be hypostasized as gods, the lighter, if we will, as hobgoblins and fairies, are the children of the blood and humours. But the blood and humours obey, among many other masters, the changing moon. Touching the soul directly through the eyes and, indirectly, along the dark channels of the blood, the moon is doubly a divinity.”

Aldous Huxley (1894–1963) English writer

"Meditation on the Moon"
Music at Night and Other Essays (1931)

Life, Women, Men, God

“Today every child knows what Merz is. But what is 'i'? I is the middle vowel of the alphabet and the designation for the consequence of Merz in relation to an intensive apprehension of the art form. For the shaping of the work of art Merz uses large ready-made complexes that count as material, to shorten as much as possible the path leading from the intuition to the actualization (Sichtbarmachung) of the artistic idea, so as to avoid heat loss through friction. i defines this path as o (i setzt diesen Weg = null). Idea, material, and work of art are the same. i apprehends the work of art in nature. Here the artistic shaping is the recognition of rhythm and expression in a part of nature. Thus, no loss through friction i. e., no disturbing distraction during creation occurs here.”

Kurt Schwitters (1887–1948) German artist

1920s
Source: the article 'i ein Manifest' (or 'i-manifest'), Kurt Schwitters, in Merz 2. 1923; as quoted in Kurt Schwitters Merzbau: The Cathedral of Erotic Misery, by Elizabeth Burns Gamard, Princeton Architectural Press, New York, 2000, p. 116

Art, Idea, Nature, Loss

“It is our expression that the flux between that which isn't and that which won't be, or the state that is commonly and absurdly called "existence," is a rhythm of heavens and hells: that the damned won't stay damed; that salvation only precedes perdition.”

Charles Fort (1874–1932) American writer

Source: The Book of The Damned (1919), Ch. 1, part 2 at resologist.net

Hell

“Why should I be more ‘cautious, careful,’ as you say? I stay in the big leagues as long as I do because I play only one way. I know I take too many, maybe. I know I should not sometimes dive for the ball—or hit the wall trying to catch it— as much as I do. But you catch the ball, you help your team. You don’t catch it, you don’t help your team. I believe playing, how you say, ‘all out’ has prolonged my career. If a ballplayer starts loafing, he tends to lose that little push that is so necessary, so important. You get lazy, won’t take even the smallest chance; kind of lose interest. Your rhythm, I guess it is, gets all messed up. Fly balls start falling on you, when they should not. And you find yourself not getting around on the ball like you should. Once you lose this ‘little push,’ then it is awfully hard to get back in the groove… get yourself going again. Your ambition – desire – suffers. And you become the kind of ballplayer you don’t want to be.”

Roberto Clemente (1934–1972) Puerto Rican baseball player

As quoted in "‘Never Let Up,’ Says Clemente" by Hal Hayes, in The Atlanta Constitution (Tuesday, May 5, 1970), p. 2-C
Baseball-related, <big><big>1970s</big></big>, <big>1970</big>

Way, Suffering, Chance, Help

“The trends that produced Schumann’s early piano works started out not so much from Weber’s refined brilliance as from Schubert’s more intimate and deeply soul-searching idiom. His creative imagination took him well beyond the harmonic sequences known until his time. He looked at the fugues and canons of earlier composers and discovered in them a Romantic principle. In the interweaving of the voices, the essence of counterpoint found its parallel in the mysterious relationships between the human psyche and exterior phenomena, which Schumann felt impelled to express. Schubert’s broad melodic lyricism has often been contrasted with Schumann’s terse, often quickly repeated motifs, and by comparison Schumann is often erroneously seen as short-winded. Yet it is precisely with these short melodic formulae that he shone his searchlight into the previously unplumbed depths of the human psyche. With them, in a complex canonic web, he wove a dense tissue of sound capable of taking in and reflecting back all the poetical character present. His actual melodies rarely have an arioso form; his harmonic system combines subtle chromatic progressions, suspensions, a rapid alternation of minor and major, and point d’orgue. The shape of Schumann’s scores is characterized by contrapuntal lines, and can at first seem opaque or confused. His music is frequently marked by martial dotted rhythms or dance-like triple time signatures. He loves to veil accented beats of the bar by teasingly intertwining two simultaneous voices in independent motion. This highly inde-pendent instrumental style is perfectly attuned to his own particular compositional idiom. After a period in which the piano had indulged in sensuous beauty of sound and brilliant coloration, in Schumann it again became a tool for conveying poetic monologues in musical terms.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Love, Beauty, Music, Color

“It saddens me to see the entrepreneurial world in Brazil, because it's a misfortune to be a boss in our country, with so many labor laws. […] Between a man and a young woman, what will the entrepreneur think? 'Damn, this woman's got a ring on her finger, she'll be pregnant soon, she'll be on maternity leave for six months…' […] Who's going to pay the bill? The employer. In the end it's deducted from social security but he says "the work rhythm is broken. And when she returns, she'll take a month-long vacation. In the end, she works five months in one year." […] I'm a liberal. If I want to hire you at my company paying you R$ 2,000.00 a month and Ms. Mary paying her R$ 1,500.00, and if Ms. Mary doesn't want to earn that amount, she must look for another job! If you think you also are not earning so much, look for another job. It is I who am paying you; I am the boss.”

Jair Bolsonaro (1955) Brazilian president elect

In an interview with Zero Hora newspaper https://gauchazh.clicrbs.com.br/politica/noticia/2014/12/bolsonaro-diz-que-nao-teme-processos-e-faz-nova-ofensa-nao-merece-ser-estuprada-porque-e-muito-feia-cjkf8rj3x00cc01pi3kz6nu2e.html on 10 December 2014. Brazil presidential candidate Bolsonaro's most controversial quotes https://www.yahoo.com/news/brazil-presidential-candidate-bolsonaros-most-controversial-quotes-012652084.html. Yahoo!, 29 September 2018.

World, Law, Thinking, Maternity

“She had expected to encounter death as a kind of existential depth and had been disappointed. But maybe there was a deeper truth there. Maybe profundity actually is a mode of disappointment. The rhythm of the climax—joy and despair, sex and pain—is of course the currency of life. Death can only ever be a sort of anticlimactic belatedness.”

Adam Roberts book Jack Glass: The Story of a Murderer

Part 2, Chapter 3, “The Utility of Dreaming” (pp. 119-120).
Jack Glass (2012)

Life, Death, Pain, Truth

“It does not follow from the separation of planning and doing in the analysis of work that the planner and the doer should be two different people. It does not follow that the industrial world should be divided into two classes of people: a few who decide what is to be done, design the job, set the pace, rhythm and motions, and order others about; and the many who do what and as they are told.”

Peter F. Drucker (1909–2005) American business consultant

Source: 1930s- 1950s, The Practice of Management (1954), p. 284

People, World

“It was then I began to on my bed and stare out at the nibbling squirrels, and to make up poems from intense abstraction, hour after unmarked hour, imagination scarcely faltering once, rhythm hardly skipping a beat, while my sisters called me, suns rose and fell, and the poems I made, which I never remembered, were the first and last of that time….”

Laurie Lee book Cider with Rosie

Source: Cider with Rosie (1959), p. 280. (The last sentence of the book)

Imagination, Sister, Time, Sun

“I believe in future generations; I believe in education, in the elimination of all that is worthless in our culture. We must leave only the good things. I don't need to explain this in detail. Every Brazilian knows which way of thinking and which negative attitudes comprise the root of the behavior that prevents our progress, with order, in a more accelerated rhythm.”

Marcos Pontes book Missão Cumprida

Missão Cumprida (2011), chapter 114

Education, Way, Behavior, Thinking

“I believe that it is possible by means of horizontal and vertical lines, constructed 'consciously' but not 'calculating', guided by a higher intuition and brought to harmony and rhythm – I believe that these fundamental aesthetic shapes – where necessary supplemented by lines in other directions or curved lines, make it possible to arrive at a work of art which is as strong as it is true. For anyone who sees more deeply, there is nothing vague about this; it is only vague for the superficial observer of nature. And 'chance' must be as far removed as 'calculation'. And for the rest it seems to me that it is necessary to keep breaking off the horizontal or vertical line: for if these directions were not countered by others, they would themselves come to signify something 'specific' and thus human.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian in a letter to H. P. Bremmer, Paris 29 January 1914; ; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 81
1910's

Art, Nature, Strong, Chance

“The mazurka provided him with a repertoire of motifs, rhythms, and sonorities outside the main Italian, French, and German traditions of European music: he used it to create a series of works within this tradition which are absolutely personal—marginal works which challenge the center.
They are the most eccentric and original of Chopin's works. We shall never know exactly what and how much Chopin took directly from the popular folk tradition and how much he invented, but it does not matter: his originality is revealed as much in what he selected as in what he imagined. The folk dances gave him the possibility of exploring new harmonies, of exploiting the emotional effect of obsessive repetition, and of developing a new form of rubato.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 7 : Chopin: From the Miniature Genre to the Sublime Style

Music, Imagination, Dance, Personality

“My work is in a complete transformation. Lately, in my studio in Amsterdam, 'beings' re-emerge more and more, but I have repainted all the canvases that I have brought with me [from Amsterdam to Paris]. It is matter itself. On the canvas, no discovery, no personal drama, no submission to a rhythm.... freed from 'Victory Boogiewoogie' [title of the last work of Piet Mondrian, 1944], bepop, bepop, we free ourselves from rhythm, we are not there yet, but it is coming... Now I paint stains, bigger stains, colours endlessly reapplied one upon the other, I scrape and I put down new stains of colour unto nothing remains but one great plane, concentrated and linked at the same time, suddenly a vivid red or yellow and the canvas and being merge.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Quote in a letter of Karel Appel from Paris to Aldo van Eyck, October 1950; as quoted in (MR1-85); Karel Appel, a gesture of colour, Jean-François Lyotard, (original French text of 1992 based upon intensive correspondence with Karel Appel), Christine Buci-Glucksmann, Herman Parret; University Press, Leuven, Belgium, 2009, p. 99

Time, Victory, Painting, Personality

“His rhythm is the only one I can sing my songs to.”

Little Richard (1932) American pianist, singer and songwriter

On Chuck Berry, http://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/chuckberryhailhailrocknrollpgharrington_a0aa6d.htm Song lyrics, Others

Singing

“Playing that music delivered me from the pressures of my life. I played with my eyes closed and found that my backaches ceased and my headaches would go. The response to that rhythm was "My God, this makes me feel good." I never really remembered having that much fun with it before or thought about jazz making me feel good. But, at 46, it suddenly dawned on me that my body had priorities that my mind didn't allow, and I decided to (play Latin/jazz)✱ for myself and started having a helluva fine time.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

As quoted in "He Arranges, Composes, Performs: Fischer: A Renaissance Man Of Music" http://articles.latimes.com/1987-05-14/entertainment/ca-8949_1_clare-fischer. <center>✱ The parenthetical addition is Zan Stewart's; exactly what it's replacing – whether simply filling a space, or replacing an unintelligible word or two – is not revealed.</center>

Life, God, Music, Feeling

“The thing that struck me most was the way he stuck to the motif [in the 'Flag' and 'Target' paintings by Jasper Johns ]…. the idea of stripes – the rhythm and the interval – the idea of repetition. I began to think a lot about repetition.”

Frank Stella (1936) American artist

quote, 1960's
Quotes, 1960 - 1970
Source: The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, pp. 215-216

Way, Quotes, Idea, Thinking

“An artist must possess Nature. He must identify himself with her rhythms, by effort that will prepare the mastery which will later enable him to express himself in his own language.”

Henri Matisse (1869–1954) French artist

In a letter to Mr. Clifford, February 14, 1948; as quoted in Letters of the great artists – from Ghiberti to Gainsborough, Richard Friedenthal, Thames and Hudson , London, 1963, p. 238
1940s

Nature, Effort

“'Live for Loving You' is a kind of song that really can live in many different genres. And, of course, when you do your live performances the first time that you perform a song you want to stay true to the record: because tha's what people want to hear, they want to hear the hit. But then after you have done it fifty thousand times and through many, many different tours, you start experimenting and doing stuff to surprise people. So, the cut that we are doing here for the "iTunes Orginal" is something that we love to do -- because we just took it and really broke it down to a Samba. You know, the Brazilians have an amazing edge -- percussively, I think -- they have amazing rhythms. And this song really fit that rhythm very nicely. So, we wanted to do it acoustically and really cool -- and like we've done many times on tour. Just break it down to just acoustic, no synths and things of that nature: just make it organic. And I love that song for that reason: because you could perform it with just a couple of bongos and some vocals if you had to. And it would still work.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

iTunes interview (released June 2, 2007)
2007, 2008

Love, People, Nature, Thinking

“A singer who is able to sing even sixteen measures of good music in a natural and engaging way, effortlessly and in tune, without distending the phrase, without exaggerating accents to the point of caricature, without platitude, affectation, or coyness, without making grammatical mistakes, without illicit slurs, without hiatus or hiccup, without making insolent changes in the text, without barks or bleats, without sour notes, without crippling the rhythm, without absurd ornaments and nauseating appoggiaturas – in short, a singer able to sing these measures simply and exactly as the composer wrote them – is a rare, very rare, exceedingly rare bird.”

Hector Berlioz book À travers chants

Un chanteur ou une cantatrice capable de chanter seize mesures seulement de bonne musique avec une voix naturelle, bien posée, sympathique, et de les chanter sans efforts, sans écarteler la phrase, sans exagérer jusqu'à la charge les accents, sans platitude, sans afféterie, sans mièvreries, sans fautes de français, sans liaisons dangereuses, sans hiatus, sans insolentes modifications du texte, sans transposition, sans hoquets, sans aboiements, sans chevrotements, sans intonations fausses, sans faire boiter le rhythme, sans ridicules ornements, sans nauséabondes appogiatures, de manière enfin que la période écrite par le compositeur devienne compréhensible, et reste tout simplement ce qu'il l'a faite, est un oiseau rare, très-rare, excessivement rare. À travers chants, ch. 8 http://www.hberlioz.com/Writings/ATC08.htm; Elizabeth Csicsery-Rónay (trans.) The Art of Music and Other Essays (Bloomington: Indiana University Press, 1994) p. 69.

Music, Way, Nature, Bird

“How could this be, the land of the free, home of the brave.. indigenous holocaust and the home of the slaves. Corporate America dancing offbeat to the rhythm. You really think this country never sponsored terrorism? Human rights violations we continue the saga, El Salvador and the Contras in Nicaragua. And on top of that you still want to take me to prison, just cause I won't trade humanity for patriotism.”

Immortal Technique (1978) American rapper and activist

The 4th Branch
Albums, Revolutionary Vol. 2 (2003)

Home, Thinking, Dance, Country

“But there are constants. The first is anxiety, because you have to reinvent an entire personal universe from that of another, understanding the film, its form, its rhythm, its colors.”

François-Eudes Chanfrault (1974–2016) Composer and musician

CinemaFantastique.net interview (October 2, 2008)

Color, Understanding, Universe, Personality

“Hey, get rhythm when you get the blues.
Hey, get rhythm when you get the blues.
Yes a jumpy rhythm makes you feel so fine.
It'll shake all the trouble from your worried mind.
Get rhythm when you get the blues.”

Johnny Cash (1932–2003) American singer-songwriter

Get Rhythm
Song lyrics, Greatest! (1959)

Feeling

“Other times I am pestered by a recurrent visual image and this image will resonate with some tone-rhythm pattern, only after that does language start to come.”

Jan Zwicky (1955) Canadian philosopher

'Perfect Fluency' interview with Scott Rosenberg, University of Wyoming Campus, Oct. 2010.
Other

Time

“You can't make a sculpture, in my opinion, without involving your body. You move and you feel and you breathe and you touch. The spectator is the same. His body is involved too. If it's a sculpture he has to first of all sense gravity. He's got two feet. Then he must walk and move and use his eyes and this is a great involvement. Then if a form goes in like that – what are those holes for? One is physically involved and this is sculpture. It's not architecture. It's rhythm and dance and everything. It's do with swimming and movement and air and sea and all our well-being. Sculpture is involved in the body living in the spirit or the spirit living in the body, whichever way you like to put it.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1961 - 1975, Art Talk, conversations with 15 woman artists', (1975), p. 21

Way, Feeling, Sense, Dance

“Fancy demanding feeling from poetry! That's not the main thing at all. Radiant words, words of light, full of rhythm and music, that's poetry.”

Théophile Gautier Paris

Demander à la poésie du sentimentalisme…ce n'est pas ça. Des mots rayonnants, des mots de lumière…avec un rythme et une musique, voilà ce que c'est, la poésie.
Remark, June 22, 1863, reported in the Journal des Goncourts (Paris: Bibliothèque-Charpentier, 1888) vol. 2, p. 123, (ellipses in the original); Arnold Hauser (trans. Stanley Godman and Arnold Hauser) The Social History of Art (London: Routledge & Kegan Paul, 1951) vol. 2, p. 684.

Music, Feeling, Light

“The producer orders a certain title.
The musical director orders a certain rhythm.
The dance director orders a certain number of bars.
And the composer orders a certain number… of aspirin.”

Frank Loesser (1910–1969) American songwriter

on working in Hollywood
Reported by musician Michael Feinstein, transcript of * Fresh Air Celebrates Frank Loesser's 100th Birthday
http://www.npr.org/2010/06/29/128169934/fresh-air-celebrates-frank-loesser-s-100th-birthday
Fresh Air
http://www.npr.org/programs/fresh-air/
Host: Terry Gross, Guest: Michael Feinstein
NPR
WHYY
Philadelphia
2009-06-29
2:34
http://www.npr.org/templates/transcript/transcript.php?storyId=128169934

Music, Dance

“I've always spent a lot of time on my records with what I think were unique rhythmic approaches … but no one ever writes about your rhythm playing”

Joe Satriani (1956) American guitar player

As quoted in BAM Magazine (6 April 1990).

Thinking, Time

“The Reality? Is it then so certain that Life is made of four Absurdities?
Is it not far more certain that life is made up of Four Beauties
of Calmness, Joy, Harmony, Rhythm…
The truest reality.
And what of the expression of all this — Art?
Must Pandemonium and Ugliness ever stand for Strength?”

Edward Gordon Craig (1872–1966) Modernist stage designer and theatre director

Introduction to Isadora Duncan : Six Movement Designs (1906)
Quote

Life, Beauty, Art, Reality

“My birthplace was California, but I couldn't forget Armenia, so what is one's country? Is it land of the earth, in a specific place? Rivers there? Lakes? The sky there? The way the moon comes up there? And the sun? Is one's country the trees, the vineyards, the grass, the birds, the rocks, the hills and summer and winter? Is it the animal rhythm of the living there? The huts and houses, the streets of cities, the tables and chairs, and the drinking of tea and talking? Is it the peach ripening in summer heat on the bough? Is it the dead in the earth there?”

William Saroyan (1908–1981) American writer

Inhale and Exhale (1936), Antranik and the Spirit of Armenia

Way, Drink, Bird, Tree

“All poets face the same task to 'follow the prompts' and satisfactorily shape the amorphous sounds, rhythms, images or phrases by which a potential poem is recognised.”

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

Poetry Quotes

“She [then nine-year-old daughter Emily] grew up with 'The Rhythm is Gonna Get You,' Well... It got her!”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

comment September 8, 2004, to concert audience in Washington, D.C. after Emily's drum solo
2007, 2008

Daughters

“Universe is a cosmos and not a chaos. There exists a mental affinity; a scientific law; a rhythm of mental relationship in which the entire living world is held together, in one web of love.”

Chinmayananda Saraswati (1916–1993) Indian spiritual teacher

Quotations from Gurudev’s teachings, Chinmya Mission Chicago

Love, World, Law, Universe

“The rhythm of a poem ceases the moment the feeling loses its intensity.”

Herbert Read (1893–1968) English anarchist, poet, and critic of literature and art

What is a Poem - Endword - Selected Poems (1926)

Feeling

“My left hand is my thinking hand. The right is only a motor hand. This holds the hammer. The left hand, the thinking hand, must be relaxed, sensitive. The rhythms of thought pass through the fingers and grip of this hand into the stone. It is also a listening hand. It listens for basic weaknesses or flaws in the stone; for the possibility or imminence of fractures.”

Barbara Hepworth (1903–1975) English sculptor

"Barbara Hepworth: A Pictorial Autobiography, Bath, 1971, (extended edition published 1978 and subsequently reprinted in 1985 and 1993) p. 79
1961 - 1975

Thinking

“If we harden our hearts to the suffering of the creatures, we must by an immutable law harden our hearts to our brother and sister, and this can never lead to ideal conditions. The adoption of this vegetarian way of life, if the food is balanced, will lead to a new, better, higher, and more noble rhythm of living.”

Gordon Latto (doctor) (1911–1998)

Speech at the 24th International Vegetarian Congress, India, 1977; quoted in The Vegetarians by Rynn Berry (Autumn Press, 1979), pp. 133-134.

Life, Law, Food, Way

“"To renew" applies when we are fighting with the enemy, and an entangled spirit arises where there is no possible resolution. We must abandon our efforts, think of the situation in a fresh spirit then win in the new rhythm. To renew, when we are deadlocked with the enemy, means that without changing our circumstance we change our spirit and win through a different technique.”

Miyamoto Musashi (1584–1645) Japanese martial artist, writer, artist

Go Rin No Sho (1645), The Fire Book

Thinking, Effort, Change, Fight

“By dancing we could remain in the moment. By dancing we could avoid talking, dwelling on the past, or thinking about the future. We were connected in a way that was neither threatening nor complicated; just circling and swaying, following the oldest rhythms of breath and heartbeat.”

Valya Dudycz Lupescu (1974) American writer

The Silence of Trees (2010)

Way, Thinking, Past, Future

“By openly recognizing the inescapable rhythm of harmony and tension which is the form of all human processes unitary man achieves a far-reaching emancipation. Much that was concealed can now stand in the open. The neutrality and objectivity of the quantity symbolism seemed to dissociated man a guarantee of the liberation of the mind from anthropomorphic and subjective illusions. But at deeper level it expressed merely the desire to escape inner conflict in a harmony of static form. This escape was wholly illusory; the superficial neutrality of science left it open to abuse, and the spirit of man has been punished by its attempt to escape struggle in an intellectual harmony. Unitary man renounces such separation and partakes in the development of the whole. Man finds himself in the universal process, by finding the universal process within himself. Tension continues, but henceforward his struggle is with, not against, the process of nature.”

Lancelot Law Whyte (1896–1972) Scottish industrial engineer

Source: The Next Development in Man (1948), p. 276

Nature, Universe, Science

“There's a city, draped in net
Fisherman net
And in the half light, in the half light
It looks like every tower
Is covered in webs
Moving and glistening and rocking
It's babies in rhythm
As the spider of time is climbing
Over the ruins.”

Kate Bush (1958) British recording artist; singer, songwriter, musician and record producer

Song lyrics, Aerial (2005), A Sea of Honey (Disc 1)

Light, Time, Baby

“.. there comes a point when something catches on the canvas, something grips on the canvas. I don’t know what it is, you can put your paint on the surface? Most of the time it looks like paint, and who the hell wants paint on a surface? But there does come a time – you take it off, put it on, goes over here, moves over a foot, as you go closer you start moving in inches not feet, half-inches – there comes a point when the paint doesn't feel like paint. I don't know why. Some mysterious thing happens. I think you have all experienced it.... What counts is that the paint should really disappear, otherwise it's craft. That's what I mean by something grips in a canvas. The moment that happens you are then sucked into the whole thing. Like some kind of rhythm.”

Phillip Guston (1913–1980) American artist

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, p. 67

Feeling, Hell, Thinking, Time

“Well, I think it is accidental. It’s just something I started doing naturally and it had a lot to do with reading. I think that Dylan Thomas, his prose and poetry, was a big influence on me. Just his use of words… He would use so many odd words: like these three- and four-syllable words that you just don’t normally hear. And they’re not used in a manner that sets the text apart from the reader. Rather they’re drawing the reader in. It’s entirely based on the alliteration of the word itself—onomatopoeia and things like that. I feel like a lot of the words I use don’t stick out in the song because they keep the feel of the song in mind. The rhythm—that’s the primary thing. They’re put in there for rhythm and alliteration as much as they are for meaning. And as long as they are not used extraneously, they’re real lightning rods for people listening to the lyrics. If the words are really helping out the rhythm of the song then all they’re going to do is draw the listener in even more”

Colin Meloy (1974) American musician

On his songwriting technique. Interview with Colin Meloy, 2004-06 http://www.believermag.com/issues/200406/?read=interview_meloy,

People, Feeling, Nature, Thinking

“Any genuine experience of God will send us out to serve those whom God loves. And working with people will make us aware of how much we are in need of God, of God’s help and guidance. This will gradually usher in a rhythm of prayer and work – prayer leading to work and work leading to prayer. So the integration of prayer and work takes place existentially.”

Kurien Kunnumpuram (1931–2018) Indian theologian

Kunnumpuram, K. (ed) (2006) Life in Abundance: Indian Christian Reflections on Spirituality. Mumbai: St Pauls
On Spirituality

Love, God, People, Help

“The only valid thing in art is that which cannot be explained. To explain away the mystery of a great painting – if such a feat were possible – would be irreparable harm… If there is no mystery then there is no 'poetry', the quality I value above all else in art. What do I mean by 'poetry'? It is to a painting what life is to man… For me it is a matter of harmony, of rapports, of rhythm and – most important for my own work – of 'metamorphosis”

Georges Braque (1882–1963) French painter and sculptor

1946 - 1963, interview with John Richardson' (1957)

Life, Art, Painting

“There is one way, and only one, of correctly reading a Latin hexameter. There may be three or four ways of reading an English blank verse line. I venture to say that no two mortals ever read aloud any given long passage of verse with precisely the same rhythms.”

John Livingston Lowes (1867–1945) American academic

Conventions and Revolt in Poetry (1919)

Way, Reading

“The coming together of rhythm and melody bridges our cerebellum and our cerebral cortex.”

Daniel Levitin (1957) American psychologist

This is Your Brain on Music (2006)

“The world of their [the bourgeois’] predecessors was a backward, pre-technological world, a world with the good conscience of inequality and toil, in which labor was still a fated misfortune; but a world in which man and nature were not yet organized as things and instrumentalities. With its code of forms and manners. with the style and vocabulary of its literature and philosophy. this past culture expressed the rhythm and content of a universe in which valleys and forests, villages and inns, nobles and villains, salons and courts were a part of the experienced reality. In the verse and prose of this pre-technological culture is the rhythm of those who wander or ride in carriages. who have the time and the pleasure to think, contemplate, feel and narrate. It is an outdated and surpassed culture, and only dreams and childlike regressions can recapture it. But this culture is, in some of its decisive elements. also a post-technological one. Its most advanced images and positions seem to survive their absorption into administered comforts and stimuli; they continue to haunt the consciousness with the possibility of their rebirth in the consummation of technical progress. They are the expression of that free and conscious alienation from the established forms of life with which literature and the arts opposed these forms even where they adorned them. In contrast to the Marxian concept, which denotes man's relation to himself and to his work in capitalist society, the artistic alienation is the conscious transcendence of the alienated existence—a “higher level” or mediated alienation. The conflict with the world of progress, the negation of the order of business, the anti-bourgeois elements in bourgeois literature and art are neither due to the aesthetic lowliness of this order nor to romantic reaction—nostalgic consecration of a disappearing stage of civilization. “Romantic” is a term of condescending defamation which is easily applied to disparaging avant-garde positions, just as the term “decadent” far more often denounces the genuinely progressive traits of a dying culture than the real factors of decay. The traditional images of artistic alienation are indeed romantic in as much as they are in aesthetic incompatibility with the developing society. This incompatibility is the token of their truth. What they recall and preserve in memory pertains to the future: images of a gratification that would dissolve the society which suppresses it”

Herbert Marcuse book One-Dimensional Man

Source: One-Dimensional Man (1964), pp. 59-60

Life, Fate, Pleasure, Truth

“They had a hi-fi phono, boy, did they let it blast
Seven hundred little records,
all rock, rhythm and jazz
But when the sun went down,
the rapid tempo of the music fell
"C'est la vie", say the old folks,
it goes to show you never can tell”

Chuck Berry (1926–2017) American rock-and-roll musician

"You Never Can Tell" (1964)
Song lyrics

Music, Boy, Sun

“It is impossible for a poet to fashion the voice deliberately by contrivance and experiment; it could not be discovered or simulated through the cultivation of an eccentric diction or prosody, or by the employment of regional speech rhythms and patterns.”

Vernon Scannell (1922–2007) British boxer and poet

A Proper Gentleman, 1977

Fashion

“Somebody will ask those of us who compose with the aid of computers: 'So you make all these decisions for the computer or the electronic medium but wouldn't you like to have a performer who makes certain other decisions?' Many composers don't mind collaborating with the performer with regards to decisions of tempo, or rhythm, or dynamics, or timbre, but ask them if they would allow the performer to make decisions with regard to pitch and the answer will be 'Pitches you don't change.' Some of us feel the same way in regard to the other musical aspects that are traditionally considered secondary, but which we consider fundamental. As for the future of electronic music, it seems quite obvious to me that its unique resources guarantee its use, because it has shifted the boundaries of music away from the limitations of the acoustical instrument, of the performer's coordinating capabilities, to the almost infinite limitations of the electronic instrument. The new limitations are the human ones of perception.”

Milton Babbitt (1916–2011) American composer

Quoted in Classic Essays on Twentieth-Century Music, ISBN 0028645812.

Music, Way, Feeling, Quotes

“No aspect of a poem is more singular, more unique, than its rhythm.”

Robert Pinsky (1940) American poet, editor, literary critic, academic.

'The Sounds of Poetry' Farrar,Strauss & Giroux 1998
The Sounds of Poetry 1998

“(on his inability to read music) "If someone lays the notes on a page in front of me, it's meaningless…because to me you can't express the rhythms properly like that. It's a very ineffective way of doing it, so I've never really bothered picking it up."”

Thom Yorke (1968) English musician, philanthropist and singer-songwriter

source http://www.geocities.com/SunsetStrip/Stage/9346/RAAmain.html

Music, Way, Reading

“The company is a living system. Employees are its lifeblood. Strategy is the brain and measurement and communication the central nervous system. Culture is the DNA. Leadership and continued entrepreneurial energy are its soul and spirit. Governance and accountability are its rhythms and disciplines, like exercise, a means of keeping this living organism fit and lean. Leadership gives a company energy. Governance assures its honesty.”

Mark Goyder (1953) British author

Living Tomorrow's Company, (1995)

Exercises, Soul, Communication

“To rob the Negro of his reputation of thinking through a problem in his own fashion is about the same as trying to pretend that he doesn't have a natural instinct for rhythm and for singing and dancing.”

Jesse Helms (1921–2008) American politician

1956) on criticism that a fictional character in his newspaper column was offensive cited The New York Times http://www.nytimes.com/2001/08/26/weekinreview/ideas-trends-the-quotations-of-chairman-helms-race-god-aids-and-more.html (2001 1950s

Fashion, Nature, Problem, Thinking

“I went outside, tripping over slabs of sunshine the size of towns. The sun was like a crowd of people, it was a party, it was music. The sun was blaring through the walls of the houses and beating down the steps. The Sun was drumming time into the stone. The sun was rhythming the day.”

Jeanette Winterson book Lighthousekeeping

Source: Lighthousekeeping (2004), p. 197

People, Music, Time, Sun

“I am completely passive about my poetry, unless I sense the rhythms, see the images and hear the words spontaneously, I am helpless.”

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

Poetry Quotes

Sense

“In large-scale strategy you can frighten the enemy not by what you present to their eyes, but by shouting, making a small force seem large, or by threatening them from the flank without warning. These things all frighten. You can win by making best use of the enemy's frightened rhythm.”

Miyamoto Musashi (1584–1645) Japanese martial artist, writer, artist

Go Rin No Sho (1645), The Fire Book

“From historical burdens such as slavery and injustice to the celebration of faith, much of the origin of African-American music reflects our national story. The work songs, shouts and hollers, spirituals, and ragtime of an earlier era laid the creative foundation for many of America' s most distinctive and popular musical genres. These include rhythm and blues, jazz, hip hop, gospel, rap, and the roots of rock and roll.”

George W. Bush (1946) 43rd President of the United States

2000s, 2001, Black Music (June 2001)

Faith, Music

“As the skipping rope hit the pavement, so did the ball. As the rope curved over the head of the jumping child, the child with the ball caught the ball. Down came the ropes. Down came the balls. Over and over again. Up. Down. All in rhythm. All identical. Like the houses. Like the paths. Like the flowers”

Madeleine L'Engle book A Wrinkle in Time

A Wrinkle in Time (1962)

Flowers, Housing

“The impulse of nature, fused through the personality of the artist by laws arising from the particular nature of the medium, produces the rhythm and the personal expression of a work. Then the life of the composition becomes a spiritual unity.”

Hans Hofmann (1880–1966) American artist

'Painting and Culture' p. 58
Search for the Real and Other Essays (1948)

Life, Law, Nature, Personality

“The rhythm of relations of color and size makes the absolute appear in the relativity of time and space.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

Color, Appearance, Time

“Luther's Qualifications. Luther had a rare combination of gifts for a Bible translator: familiarity with the original languages, perfect mastery over the vernacular, faith in the revealed word of God, enthusiasm for the gospel, unction of the Holy Spirit. A good translation must be both true and free, faithful and idiomatic, so as to read like an original work. This is the case with Luther's version. Besides, he had already acquired such fame and authority that his version at once commanded universal attention.
His knowledge of Greek and Hebrew was only moderate, but sufficient to enable him to form an independent judgment. What he lacked in scholarship was supplied by his intuitive genius and the help of Melanchthon. In the German tongue he had no rival. He created, as it were, or gave shape and form to the modern High German. He combined the official language of the government with that of the common people. He listened, as he says, to the speech of the mother at home, the children in the street, the men and women in the market, the butcher and various tradesmen in their shops, and, "looked them on the mouth," in pursuit of the most intelligible terms. His genius for poetry and music enabled him to reproduce the rhythm and melody, the parallelism and symmetry, of Hebrew poetry and prose. His crowning qualification was his intuitive insight and spiritual sympathy with the contents of the Bible.
A good translation, he says, requires "a truly devout, faithful, diligent, Christian, learned, experienced, and practiced heart."”

Philip Schaff (1819–1893) American Calvinist theologian

Luther's competence as a Bible translator

Women, Men, God, Children

“Everything can collapse. Houses, bodies, and enemies collapse when their rhythm becomes deranged.
In large-scale strategy, when the enemy starts to collapse you must pursue him without letting the chance go. If you fail to take advantage of your enemies' collapse, they may recover.”

Miyamoto Musashi (1584–1645) Japanese martial artist, writer, artist

Go Rin No Sho (1645), The Fire Book

Chance, Housing

“I strive to make my art bear the same relation to painting that polyphony bears to music. Illustrative music is a thing of the past: it has become abstract and purely aesthetic, dependent for its effect upon rhythm and form.”

Stanton Macdonald-Wright (1890–1973) American artist

Quoted in Bryant American Pictures And Their Painters (1917), p. 302

Art, Music, Past, Painting

“The Futurists were the first painters, poets, and architects who exalted modern work with their art—
they painted speeding automobiles—
they painted lamps bursting with light—
they painted steaming locomotives and swift bicyclists—
the Futurists stylized their compositions, adopting a violently colored look; with synoptic and geometric shapes they multiplied and decomposed the rhythms of objects and landscapes in order to increase their dynamic qualities and to give an effective rendering of their swift ideas, the states of mind, their conceptions.”

Fortunato Depero (1892–1960) Italian painter, writer, sculptor and graphic designer

Depero (1931) "Futurism and Adverticing Art"; Republished in: Futurism : an anthology http://modernistarchitecture.files.wordpress.com/2011/09/ebooksclub-org__futurism__an_anthology__henry_mcbride_series_in_modernism_.pdf. edited by Lawrence Rainey, Christine Poggi, and Laura Wittman, (2011), p. 290

Art, Color, Idea, Light

“One sunny spring day I heard the music coming down Karl Johan [street] and it filled me with joy. The spring, the sun, the music, all blended together to make me shiver with pleasure. The music added colour to the colours. I painted the picture [his painting 'Music on Karl Johan'] allowing the colours to reverberate with the rhythm of the music. I painted the colours as I saw them at that moment.”

Edvard Munch (1863–1944) Norwegian painter and printmaker

Quote in 'Livsfrisen tilblivelse', Blomqvist, Oslo 1929, p. 12
1896 - 1930

Pleasure, Music, Spring, Sun

“My family was musical on both sides. My father's family had a famous flautist and a classical pianist. My mother won a contest to be Shirley Temple's double -- she was the diva of the family. At 8, I learned how to play guitar. I used to play songs from the '20s, '30s and '40s in the kitchen for my grandmother. After my dad was a prisoner in Cuba for two years, we moved to Texas, where I was the only Hispanic in the class. I remember hearing "Ferry Cross the Mersey," by Gerry and the Pacemakers, and thinking, "that had bongos and maracas -- that was really a bolero." And the Beathles song, "Till There was You"… also Latin. I wrote poetry, which got me into lyrics. Stevie Wonder, Carole King, Elton John pulled me into pop. I started singing with a band -- just for fun -- when I 17. And pretty soon, I was thinking I could sing pop in English as well as Spanish. And as you know, we did that and we broke through. But we waited until 1993 to release "Mi Tierra" -- we wanted my fans to be rady for the traditional Cuban music. And then we kept adding: more Cuban influences, more Latin America. And, underneath it all, African drums and rhythm. The concept of "90 Millas" starts with the songs of the '40s. We invited 25 masters of Latin music -- giants on the cutting edge of creativity, musicians who pushed it out to the world, young Cuban artists and Puerto Ricans who are huge -- so we could blend cultures and generations. So it is like coming home, but not exactly to the old Cuba.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

www.huffingtonpost.com (September 7, 2007)
2007, 2008

World, Family, Music, Home

“He's not really a difficult interview. You just have to catch the essence and rhythm of what he's saying. I'd ask him how baseball has changed over the past 25 years and he'd start telling me about his life as a dental student in Kansas City.”

Arnold Hano (1922) American writer

On Casey Stengel, as quoted in "Loquacious Sportswriter: Arnold Hano Calls 'em as He Sees 'em in World of Sports" by Earl Gustkey, in The Los Angeles Times (April 23, 1970), p. D1
Sports-related

Life, Change, Past

“Let my inspiration flow, in token lines suggesting rhythm, that will not forsake me, till my tale is told and done”

Robert Hunter (1941–2019) American musician

"Lady With a Fan"
Song lyrics, (1977)

“All living things sustain each other. All living things depend upon death not as an end, an absolute completion, but as a beginning of a new rhythm, a way of fulfillment in passing on the restless force of life.”

Edmund Cooper book Seed of Light

Seed of Light (1959)

Life, Death, Way, Dependency

“All life is a rhythm,” she said as I sat up. “All death is rhythm suspended, a syncopation before life resumes.”

Samuel R. Delany book The Einstein Intersection

Section 2
The Einstein Intersection (1967)

Life, Death

“The 2004 tour hasn't ended. I still have to finish Latin America and Europe. [Celia Cruz and I] were good friends. Emilio did her first video; we wrote a song for her. I would have loved to have had her there [when recording "90 Millas"]. But she was there. I felt her. That's the beauty of a legacy. Celia was economical and tasty in her choices. And in the pocket like you wouldn't believe? [Which means] It's like a rhythm, from son music. To have it it is to be locked in, like a tuned engine. Once you're in the pocket, you're free. That's why, for most of these songs, I sang and I sang until I had the emotion, then... one take. {Couldn't you be considered the heiress to Celia Cruz? ] you can't give youself a title! That's crazy! If I ever start talking like that, please put me out of my misery. I don't care if I'm 80, with my butt to my ankles, put me down.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

www.huffingtonpost.com (September 7, 2007)
2007, 2008

Love, Beauty, Music

“Poetry emulates the Cosmos perhaps because the Cosmos itself is the grandest conceivable example of rhythm, rhyme, harmony and concinnity.”

Vanna Bonta (1958–2014) Italian-American writer, poet, inventor, actress, voice artist (1958-2014)

The Cosmos as a Poem (2010)

“.. if the objects will be mathematical values, the ambient in which they live will be a particular rhythm in the emotion which surrounds them. The graphic translation of this rhythm will be a state of form, a state of color, each of which will give back to the spectator the 'state of mind' which produced it..”

Umberto Boccioni (1882–1916) Italian painter and sculptor

in a letter of 12 Feb. 1912 from Paris, to his friend Nino Barbantini (director of the Ca' Pesaro in Venice); as cited in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003, p. 67 1912

Color, Mathematics

“Throughout, the work of Tyndale formed the foundation, and more than anyone else he established the rhythms and furnished much of the language which is familiar to us in the Authorised Version.”

Frederic G. Kenyon (1863–1952) British palaeographer and biblical and classical scholar

Source: The Story Of The Bible, Chapter V, The English Bible, p. 49

“What we call inspiration in poetry is usually a visitation of words and rhythms rather than ideas.”

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

Poetry Quotes

Idea

“I really don't know what to say about this without sounding hypercritical. First of all, the style of playing is so tremendously behind the beat, it gets to the point that I feel he's in opposition to his rhythm section, and I can't get a nice swing out of the thing. The pianist is tremendously heavy-handed, which I think gets in the way of what he's trying to do, so I feel that in some spots he's stumbling, instead of having the feeling that the man is executing what he wants to play. The whole thing strikes me as a sort of comme-ci-comme-ca performance of a like tune. Two stars.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

Reviewing Dodo Marmarosa's recording of "Mellow Mood," https://www.youtube.com/watch?v=xieUt3PqGJ0 from the album Dodo's Back!; as quoted in "Clare Fischer: Blindfold Test" http://www.mediafire.com/view/fix6ane8h54gx/Clare_Fischer#rjvay58eo774rhe

Way, Feeling, Star, Thinking

“The bases of music are rhythm and harmony. Rhythm is ordered recurrence in time… As the planets move around the sun, they repeat their orbits periodically; thus there is already a primitive kind of rhythm in their motion…. Harmony… can be considered a special kind of rhythm…. pure musical tones are produced when the vibrations are… periodic or… repeat themselves regularly in time. Two tones harmonize if their intervals of repetition are in rhythm—or, in mathematical language, if their periods are in proportion. Kepler… in the third book of Harmonice mundi… attempted to make other… related, connections between musical harmony and mathematical proportion.”

Frank Wilczek (1951) physicist

Longing for the Harmonies: Themes and Variations from Modern Physics (1987)

Books, Music, Mathematics, Time

“(Piet Mondrian's) comment was: 'You have a very strong inner rhythm. You must never lose it'. Then we moved on. Piet Mondrian had said something quiet beautiful to me. Hofmann was also excited and enthusiastic about what I was doing at this time [c. 1938] but his comment was: 'This is so good that you would not know it was done by a woman'. His was a double-edged compliment. But Mondrian’s evaluation rides through beautifully.”

Lee Krasner (1908–1984) American artist

Source: Art Talk, Conversations with 15 woman artists 1975, p. 73.

Beauty, Strong, Time

“I began to write what I called 'rhythms' ie unrhymed pieces with no formal metrical scheme where the rhythm was created by a kind if inner chant.. Later I was told I was writing 'free verse' or Vers libre.”

Richard Aldington (1892–1962) English writer and poet

Introduction to Collected Poems, 1929

“I know she ain't you, but she's here, and she's got that dark rhythm in her soul.”

Bob Dylan (1941) American singer-songwriter, musician, author, and artist

Song lyrics, Knocked Out Loaded (1986), Brownsville Girl (with Sam Shepard)

Soul

“Identification of rhythm as the causal counterpart of life; wherever there is some life, only perceptible to us when the analogies are sufficiently close.”

Alfred North Whitehead (1861–1947) English mathematician and philosopher

1910s, The Principles of Natural Knowledge (1919)

Life

“.. the Place de l'Opera [in Paris] gives a better image of the new life than many theories. Its rhythms of opposition, twice repeated in its two directions, realizes a living equilibrium through the exactness of its execution.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian before 1930; as cited in 'The New Art – The New Life', Piet Mondrian, op. cit. Introd. Note 1., 1931
1930's

Life

“The linear, mechanistic view of the world which pervades orthodox economics is simply not capable of capturing the richness and complexity of the rhythms and fluctuations of developed economies.”

Paul Ormerod book The Death of Economics

Part II, Chapter 8, The Dynamics of Unemployment, p. 162
The Death of Economics (1994)

World

“There is no absolute virtue in iambic pentameter as such.. however well they may be done. There is no immediate virtue to rhythm even. These things are merely a means to an end.”

Edward Storer (1880–1944) British writer

'Essay on Imagism' (appended to 'Mirrors of Illusion', Sisley, London) 1909

“That the sweetly intoxicating three-four rhythm which took hold of hand & foot, necessarily eclipsed great & serious music & made the audience unfit for any intellectual effort goes without saying.”

Eduard Hanslick (1825–1904) austrian musician and musicologist

Quoted by Long Beach Opera Co. http://www.longbeachopera.org/index.php4?id=200403

Music, Effort

“Our sense of touch is a fundamental sensibility which comes into action at birth – our stereognostic sense – the ability to feel weight and form and assess its significance. The form which have had special meaning for me since childhood have been the standing form (which is the translation of my feelings towards the human being standing in the landscape) the two forms (which is the tender relation of one living thing besides another); and the closed form, such as the oval, spherical or pierced form (sometimes incorporating colour) which translates for me the association and meaning of gesture in landscape; in the repose of say a mother and child.... In all these shapes the translation of what one feels about man and nature must be conveyed by the sculptor in terms of mass, inner tension, and rhythm, scale in relation to our human size and the quality of surface which speaks through our hands and eyes.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1961 - 1975, Barbara Hepworth, A Pictorial autobiography', 1970, p. 284

Feeling, Birth, Nature, Sense

“I have painted like an ape. The ape phase is in all my work. My first lick of paint is the ape phase, from that I grow towards a more intellectual phase, involving the lines, the rhythm. From that phase I grow towards mankind, for that is where the power of my imagination lies. It no longer has anything to do with reality, even though the world is present in it - for we recognize people, animals, plants, you name it.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

quote of Karel Appel: from the conversation with Rudy Fuchs in 1990; as quoted in 'The Low Countries', Jaargang 12(2004) on DBNL (Dutch Librairy online) http://www.dbnl.org/tekst/_low001200401_01/_low001200401_01_0027.php

People, World, Imagination, Reality

“The rhythm of poetry and the routine of work are interdependent for some poets”

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

'Sing for the Taxman-Poetry Magazine-Poetry Foundation May 1 2009
Poetry Quotes

“Working in the abstract way seems to release one’s personality and sharpen the perceptions so that in the observation of humanity or landscape it is the wholeness of inner intention which moves one so profoundly. The components fall into place and one is no longer aware of the detail except as the necessary significance of wholeness and unity.... a rhythm of form which has its roots in earth but reaches outwards towards the unknown experiences of the future. The thought underlying this form is, for me, the delicate balance the spirit of man maintains between his knowledge and the laws of the universe.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1961 - 1975, Barbara Hepworth, A Pictorial autobiography', 1970, p. 286

Law, Way, Knowledge, Universe