Quotes about styling
page 3

“The whole Mount still kept the grand style; it expressed the unity of Church and State, God and Man, Peace and War, Life and Death, Good and Bad; it solved the whole problem of the universe.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

Life, Death, God, War

“If a veteran political operative like Barack Obama is considered beyond reproach, incapable of abusing power—all the more so is it irrational, irresponsible and in Third-World style to hound an administration not yet fully assembled or ensconced, for a political past it lacks. Sane people must walk away from Fake News' Russia Ruse.”

Ilana Mercer South African writer

"The Donald Vs. The Deep State" http://dailycaller.com/2017/03/09/the-donald-vs-the-deep-state/ The Daily Caller, March 9, 2017 2010s, 2017

People, World, Past

“A second arresting feature of Jesus' language was its invitational style. Instead of telling people what to do or what to believe, he invited them to see things differently, confident that if they did so their behaviour would change accordingly. This called for working with peoples' imaginations more than with their reason or their will.”

Huston Smith book The World's Religions

The World's Religions (1991)

People, Confidence, Imagination, Change

“Beautiful Delilah, dressed in the latest style
Swingin' like a pendulum, walkin' down the aisle
Deep romantic eyes, speak so low in miles
Maybe she will settle down and marry after a while”

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

"Beautiful Delilah" (1958)
Song lyrics

Beauty

“After centuries of relative silence and enforced acceptance, we adapted a technique of exposing the problem by direct and dramatic methods. We had confidence that when we awakened the nation to the immorality and evil of inequality, there would be an upsurge of conscience followed by remedial action. We knew that there were solutions and that the majority of the nation were ready for them. Yet we also knew that the existence of solutions would not automatically operate to alter conditions. We had to organize, not only arguments, but people in the millions for action. Finally we had to be prepared to accept all the consequences involved in dramatizing our grievances in the unique style we had devised.”

Martin Luther King, Jr. (1929–1968) American clergyman, activist, and leader in the American Civil Rights Movement

1960s, Family Planning - A Special and Urgent Concern (1966)

People, Confidence, Problem, Silence

“Yes," I continued, "I discovered this model recently and her style never fails to be mathematically perfect. She seems to come by it naturally. As if she were born resonant. I notice Japanese models tend to do this. Like I said, they seem to have resonance somewhere deep in their culture. But Yuri Nakagawa, she's the best I've ever seen. The best model, with the most powerful resonance. I need her to probe deeper into this profound mathematical instinct, which I call resonance.”

Alexei Maxim Russell (1976) Canadian writer

from Trueman Bradley - The Next Great Detective.

Mathematics, Nature, Perfection

“His wastefulness showed most of all in the architectural projects. He built a palace, stretching from the Palatine to the Esquiline, which he called…"The Golden House". The following details will give some notion of its size and magnificence. The entrance-hall was large enough to contain a huge statue of himself, 120 feet high…Parts of the house were overlaid with gold and studded with precious stones and mother-of pearl. All the dining-rooms had ceilings of fretted ivory, the panels of which could slide back and let a rain of flowers, or of perfume from hidden sprinklers, shower upon his guests. The main dining-room was circular, and its roof revolved, day and night, in time with the sky. Sea water, or sulphur water, was always on tap in the baths. When the palace had been decorated throughout in this lavish style, Nero dedicated it, and condescended to remark: "Good, now I can at last begin to live like a human being!"”
Non in alia re tamen damnosior quam in aedificando domum a Palatio Esquilias usque fecit, quam…Auream nominavit. De cuius spatio atque cultu suffecerit haec rettulisse. Vestibulum eius fuit, in quo colossus CXX pedum staret ipsius effigie…In ceteris partibus cuncta auro lita, distincta gemmis unionumque conchis erant; cenationes laqueatae tabulis eburneis versatilibus, ut flores, fistulatis, ut unguenta desuper spargerentur; praecipua cenationum rotunda, quae perpetuo diebus ac noctibus vice mundi circumageretur; balineae marinis et albulis fluentes aquis. Eius modi domum cum absolutam dedicaret, hactenus comprobavit, ut se diceret quasi hominem tandem habitare coepisse.

Sueton book The Twelve Caesars

Source: The Twelve Caesars, Nero, Ch. 31

Flowers, Water, Time, Parting

“Whether the associations of the Imperial name are bad, as Mr. Gladstone thinks, I will not discuss. Splendid and imposing they certainly were, not only in the age of the Antonines, but in the best days of the mediaeval Empire, from Otto the Great to Frederick II. But that splendour they have lost. … In fact, the title of King is now the less common of the two, and, with such associations as our kingship has, it is far more dignified. There has been a King of the English ever since the ninth or tenth century; no other Monarchy in Europe (except the lands of our Scandinavian kingsfolk and except the Crown of St. Stephen) can boast of anything like an equal antiquity. … Why endanger the pre-eminence of style of the only European Crown which combines the glories of ancient legitimacy with those of equally ancient constitutional freedom?”

James Bryce, 1st Viscount Bryce (1838–1922) British academic, jurist, historian and Liberal politician

Letter to The Times (13 March 1876), p. 8, after Queen Victoria was given the title "Empress of India".
1870s

Age, Thinking, Freedom

“And I say to you this morning in conclusion that I'm not going to put my ultimate faith in things. I'm not going to put my ultimate faith in gadgets and contrivances. As a young man with most of my life ahead of me, I decided early to give my life to something eternal and absolute. Not to these little gods that are here today and gone tomorrow, but to God who is the same yesterday, today, and forever. Not in the little gods that can be with us in a few moments of prosperity, but in the God who walks with us through the valley of the shadow of death, and causes us to fear no evil. That's the God. Not in the god that can give us a few Cadillac cars and Buick convertibles, as nice as they are, that are in style today and out of style three years from now, but the God who threw up the stars to bedeck the heavens like swinging lanterns of eternity. Not in the god that can throw up a few skyscraping buildings, but the God who threw up the gigantic mountains, kissing the sky, as if to bathe their peaks in the lofty blues. Not in the god that can give us a few televisions and radios, but the God who threw up that great cosmic light that gets up early in the morning in the eastern horizon, (who paints its technicolor across the blue—something that man could never make. I'm not going to put my ultimate faith in the little gods that can be destroyed in an atomic age, but the God who has been our help in ages past, and our hope for years to come, and our shelter in the time of storm, and our eternal home. That's the God that I'm putting my ultimate faith in.”

Martin Luther King, Jr. (1929–1968) American clergyman, activist, and leader in the American Civil Rights Movement

1950s, Rediscovering Lost Values (1954)

Life, Death, God, Age

“At the Galerie Colette Allendy I exhibited some twenty monochrome surfaces, all in different colours: greens, reds, yellows, purples, blues, oranges.... and so found myself at the start of my career in this style... I was trying to show colour, but I realized at the private view that the public were prisoners of a preconceived point of view and that, confronted with all these surfaces of different colours, they responded far more to the inter-relationship of the different propositions, they reconstituted the elements of a decorative polychromy.”

Yves Klein (1928–1962) French artist

In 1956; p. 30
before 1960, "Yves Klein, 1928 – 1962, Selected Writings"

“In the evening I study a fair.... if you could see the pomp and luxury of the merry-go-round and the stands and booths. Everything is decorated in Baroque-style, all gold and silver; there are mirrors, fabrics, and electric lightning. By night the whole thing is fantastic and rowdy. First of all I shall make a small picture and some drawings for illustrations.”

Giacomo Balla (1871–1958) Italian artist

quote c. 1900, in: Giacomo Balla (1871 – 1951), ed. Fagiolo dell'Arco, exh. catalogue, Galleria Nationale d'Arte Moderna, Rome, 1971 Balla studied a fair for his later painting ' Luna park in Paris https://www.wikiart.org/en/giacomo-balla/luna-park-par-s-1900,' he painted in 1900

Study, Drawing, Night

“I went back to work and wrote a poem for this person. While I was writing it I was realizing that if I wanted to I could use the telephone instead of writing the poem, and so Personism was born. It's a very exciting movement which will undoubtedly have lots of adherents. It puts the poem squarely between the poet and the person, Lucky Pierre style, and the poem is correspondingly gratified. The poem is at last between two persons instead of two pages.”

Frank O'Hara (1926–1966) American poet, art critic and writer

Personism: A Manifesto, from The Collected Poems of Frank O'Hara (1972).

Personality

“There appear to be as many learning styles among prodigies as there are prodigies to express them.”

Adam Gopnik (1956) American journalist

How to Raise a Prodigy, The New Yorker (2018)

Learning, Appearance

“A critical sense of style and of poetic form is not easy to attain, nor is it of first importance for the younger, or, indeed, for any student of Virgil. Wide open to anyone who is willing to learn is the richer knowledge of Virgil as a poet who loved his country and who loved also that humanity which existed before Rome, exists today within ourselves, and will exist long after our own civilization, like that of Virgil's Rome, has become a matter of "ancient history." It is true that the longer one has lived the better one can appreciate a poem which is concerned with life. But the gain that comes to us with the years depends, partly at least, upon the riches we have been willing to extract from literature, which is the experience of other men and women written out. In youth's search for this treasure the Aeneid will be at once a fair haven and a port of departure.”

John Conington (1825–1869) British classical scholar

Introduction to The Aeneid of Virgil (Chicago and New York: Scott Foresman and Company, 1916), p. 45; partially quoted in School and Home Education, Vol. 35 (1916), p. 172

Love, Life, Women, Men

“First one should write no more or no less letters than the sound of the word requires. Second, one should write as one speaks and not try to pay attention to the style of other writers, particularly academicians.”

Quirinus Kuhlmann (1651–1689) German poet and mystic

Preface to Lehrreicher Geschicht-Herold
Other Quotes

“I’d done commercials before, you had to smile and be phony, and that’s not my style. The spot was created to be warm and homey, to lend itself to realism. That’s important to me.”

Virginia Christine (1920–1996) actress

A Character Star Gets Her Perks Playing Coffee's Mrs. Olson (April 30, 1979)

Smile

“For the first time he looked into his heart and wrote, and thus for the first time he touched the hearts of others; the cold style took fire, and beneath the clumsy periods welled tears.”

Evelyn Beatrice Hall book The Friends of Voltaire

Source: The Friends of Voltaire (1906), Ch. 1 : D'Alembert: The Thinker, p. 29

Tear, Time, Heart

“The real difficulty was caused by too precipitate liberalization… The Americans and the British kept pushing me; they wanted a democratic republic. They wanted me to be more liberal with my opponents. The changes were genuine on my part. But Iran is not ready for Western-style democracy.”

Mohammad Reza Pahlavi (1919–1980) Shah of Iran

As quoted in Marvin Zonis (1991), Majestic Failure: The Fall of the Shah, page 109
Attributed

Democracy, Change, Parting

“In the next five years, molecular Darwinism—the idea that Darwinian processes can produce complex molecular structures at the subcellular level—will be dead. When that happens, evolutionary biology will experience a crisis of confidence because evolutionary biology hinges on the evolution of the right molecules. I therefore foresee a Taliban-style collapse of Darwinism in the next ten years. Intelligent design will of course profit greatly from this.”

William A. Dembski (1960) American intelligent design advocate

" Measure of Design: A Conversation About the Past, Present & Future of Darwinism & Design http://www.touchstonemag.com/archives/article.php?id=17-06-060-i#ixzz2elFILC9O|The" Touchstone, volume 17, issue 6, pages 60-65, at page 64 (July/August 2004). 2000s

Confidence, Intelligence, Idea, Dead

“He has a remarkable ear for intonation, a great sense of rhythm and what is most important, he has great style - style in my way of thinking is a matter of delivery, phrasing, pace, emphasis, and most of all presence.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Bing Crosby in Crosby, Bing. Liner notes for Attitude Dancing, United Artists Records, UAS29888, 1975. (M).

Way, Thinking, Sense

“I met my maker / I made him cry / And on my shoulder / He asked me why / His people won't fly / Through the storm / I said listen up man, they don't even know you're born
All my people / Right here, right now / D'you know what I mean?
Coming in a mess / Going out in style / I ain't good looking / But I'm someone's child
No one can give me the air that's mine to breathe”

Noel Gallagher (1967) British musician

D'You Know What I Mean
Be Here Now (1997)

People, Cry, Flying

“Apparently an "art"—which almost by definition cannot be put into words—is probably best communicated by approaching it from many sides and doing so repeatedly, hoping thereby students will finally master enough of the art, or if you wish, style, to significantly increase their future contributions to society.”

Richard Hamming (1915–1998) American mathematician and information theorist

The Art of Doing Science and Engineering: Learning to Learn (1991)

Hope, Art, Communication, Future

“I’m just really grateful and lucky that I get to keep existing in this business and existing by way of working as opposed to just being around the scene. So I love the process of making all of this. Being on set at the Sesame Workshop was one of the great things of last year for me. Getting just to work with Joss Whedon [on Dr. Horrible] for six days renegade-style was just unbelievable. Every week getting these new scripts and seeing what Barney Stinson gets to say and do is like a constant Christmas present. Things are swell.”

Neil Patrick Harris (1973) American actor and host

AfterElton.com; September 11th, 2008.

Love, Way, Business, Christmas

“There is nothing to write about, you say. Well, then, write and let me know just this,—that there is nothing to write about; or tell me in the good old style if you are well. That's right. I am quite well.”

Pliny the Younger (61–113) Roman writer

Letter 11, 1.
Letters, Book I

“Elementarism has been born partly in reaction to an over-dogmatic and often narrow-minded application of NeoPlasticism [a critic on his former artist-companion Piet Mondrian, partly as its consequence but ultimately from what is primarily a radical correction of Neo-plastic ideas. Elementarism rejects the demands of pure statics which led to sterility and to the laming of creative potentialities. Instead of denying Time and Space, Elementarism acknowledge these elements to be the most elementary means for creating a new plastic expression... In contrast to the Neo-plastic [= De Stijl] manner of expression, which is restricted to two dimensions [the plane], Elementarism acknowledges a form of plastic expression in four dimensions, the realm of space-time. In opposition to the orthogonal style of plastic expression, which is 'homogeneous' with natural construction, Elementarism postulates a 'heterogeneous' contrasting, unstable manner of plastic expression based upon planes oblique in relation to the static, perpendicular axis of gravitation”

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

Quote of van Doesburg, in van 'Painting and plastic art': Elementarism – fragment of a manifesto' Paris, December 1926 – April 1927; in De Stijl, Theo van Doesburg – series XIII, 78, 1926–27, pp. 82–87
1926 – 1931

Idea, Nature, Time

“Many people would argue that the most dangerous inhabitant of the earth is currently the self styled 43rd president of the United States. Not so much in deed anymore as in word. Because to hear that man speak is to wish upon yourself physical harm.”

John Oliver (1977) English comedian

John Oliver: Terrifying Times (2008)

People

“Yes, I’m profoundly a representative of the great hypervirtuosic Romantic epoch. But as already mentioned, my roots also go back to Bach and this special style of interpretation, where I’m also at home. In this special field of tension I also see many of the major composers and works in the Romantic tradition. It was no less than Schumann himself who said that great music finds all its combinations in Bach. Indeed, Schumann also builds up his works in polyphonic style, and even in his orchestral scores and symphonic movements he is a counterpointer. As Romantic and modern his work must have seemed to people of his era and lifetime, in main he was a classicist. That means that - and only to name one typical Romantic composer - Schumann cannot be understood without Bach.”

Burkard Schliessmann classical pianist

Talkings on Bach

People, Music, Home

“In its current form UML is designed to support a wide variety of different modelling techniques and formalisms. This is evident, for example, in the state machine formalism which allows both Moore and Mealy formalism with hierarchical states including concurrent sub-states and both synchronous and asynchronous calling semantics. The result of this is not only that almost any state modelling style can be supported but also that many combinations of elements have no defined execution semantics. It is now widely recognised within the UML community, however, that considerable benefit can be gained by forming subsets of the UML with well defined execution semantics. Such subsets can form an “executable UML” which would enable the simulation, execution, testing and ultimately translation of UML models into target code. As part of this movement, work is progressing under the auspices of the OMG towards the definition of “profiles” that define such subsets and towards the more detailed definition of the contents of “actions” including a more precise definition of the execution semantics of UML models.”

Stephen J. Mellor (1952) British computer scientist

Mellor and Ian Wilkie (1999). A mapping from Shlaer-Mellor to UML http://www.ooatool.com/docs/SMUML99.pdf. Technical report, Projtech Inc. and Kennedy Carter Limited, 1999.

Communication, Support, Parting

“For people like us it is necessary to be a bit stronger, more self-critical, more observant than the usual run. Whether we happen to come already enhanced with these qualities, as some have claimed, or whether our situation invests them in us, we have traditionally - and we do have a long and proud tradition - been a little finer, a little firmer, more sensitive and flexible than others… There will be times when only your own spine can support you, moments when only your own wit can inspire you, days when nothing but exacting self-control can raise you from bed, nights when nothing but your word can impel you into society. But of all these disciplines, there is nothing you must hold to more sternly than to be kind and sympathetic. The easiest armor to put on is always cruelty. That armor will, indeed, see you through everything. Vicious condescension toward those without your strength can make you feel momentarily superior. But that easy armor must be forgone. Don't ever curdle that creamy brow with lines of easy disdain, or curl those lips with a popular sneer. Of all the models available, the one of gentleman in our late war is most succinct: Face what you have to face with humor, dignity, and style; protect yourself with knightly grace; have contempt for your own weakness and never encourage it in others; but never, Ralph, never for an instant permit yourself to feel anything other than pity and deepest sympathy for unfortunate comrades who have, after all, fallen in the same battle.”

Robert Patrick (playwright) (1937) Playwright, poet, lyricist, short story writer, novelist

One of Those People
Untold Decades: Seven Comedies of Gay Romance (1988)

War, People, Feeling, Support

“The cinema is about other things than storytelling. What you remember from a good film -- and let's only talk about good films -- is not the story, but a particular and hopefully unique experience that is about atmosphere, ambience, performance, style, an emotional attitude, gestures, singular events, a particular audio-visual experience that does not rely on the story.”

Peter Greenaway (1942) British film director

"105 Years of Illustrated Text" in the Zoetrope All-Story, Vol. 5 No. 1.
105 Years of Illustrated Text

“Early Christian art during the first two or three centuries of its existence was merely a development or even a variant of late Roman art. So great is the similarity between late pagan and early Christian work that the decisive change of style must have occurred between the classical and post-classical, not between the pagan and Christian eras.”

Arnold Hauser (1892–1978) Hungarian art historian

The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter IV. The Middle Ages

Art, Decision, Change

“Owing to the strength of this [the Navajo] tribe which numbered then not less than sixty or seventy thousand (60 or 70,000) souls embracing as it did some of those Indians who now call themselves 'Apaches' but who still speak the same language, and who are so alike, and to the fact that they inhabit a country equal to one-third of the whole Territory; that this section was a 'Terra Incognita' and that there is no portion of the American Continent so well adapted by nature for the peculiar style of warfare adopted by the Indians, it is not at all surprising that the many powerful campaigns made against them by the Spanish Government were entirely barren of results as to their subjugation.”

Kit Carson (1809–1868) American frontiersman and Union Army general

Letter to General James Henry Carleton (May 17, 1864) as quoted by Ralph Emerson Twitchell, The Leading Facts of New Mexican History Vol. 3 https://books.google.com/books?id=GUUOAAAAIAAJ (1917)

Soul, Nature, Country

“Well, I had tried out a few schemes of my own, until one day I began to watch Joe Jackson. He looked to me about the freest, longest hitter I had seen anywhere. He could take a good, natural cut at the ball without losing his balance and when he landed the ball usually kept going until it disappeared. If you will remember, he was the first to hit one over the right field stands at the Polo Grounds. So I said to myself: If that style works so well with Jackson, why not for me? And I began keeping my right foot well forward and my left foot well back. In the first place, being a left-handed hitter, this gave me a chance to get in a lot of leverage and to get my full weight back of the punch. It brought my body around in a half turn and as I stepped into the ball with my right foot I was turning in a natural way in the same direction my bat was traveling. I tried this idea out; it worked great—and I've stuck to it ever since.”

Babe Ruth (1895–1948) American baseball player

As quoted in "The Sportlight: Learning From Others" by Grantland Rice, in The New York Tribune (March 15, 1923), p. 14

Way, Travel, Idea, Nature

“As for the woman styling herself Mother Teresa, I can attest that until I wrote my little pamphlet, she had been the recipient, the beneficiary, of a twenty-five year Niagra of one-hundred percent favorable publicity in every secular, Protestant, Jewish, and Catholic, or non-religious outlet of any kind at all in the media. Only by the grace of my intervention [laughter] could it not be said, when she died, that no one had ever said a single word against her; and that no one had ever pointed out that she had fawned on the Duvalier family in Haiti and said that they were the Lord's anointed and beloved of the poor.”

Christopher Hitchens (1949–2011) British American author and journalist

2000s, 2000, "Hostility Of America to Religion" (2000)

Family, Laughter

“It was a brilliant, mutinous period. Brecht gave back to German prose its Lutheran simplicity and Thomas Mann brought into his style the supple, luminous elegance of the classic and Mediterranean tradition. These years, 1920-33, were the anni mirabiles of the modern German spirit.”

George Steiner (1929–2020) American writer

"The Hollow Miracle" (1959).
Language and Silence: Essays 1958-1966 (1967)

“.. I thought I had come into the clear in art when for the first time I was able to apply an abstract style to nature.”

Paul Klee (1879–1940) German Swiss painter

Paul Klee, in an autobiographical text for Wilhelm Hausenstein, 1919; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html 1916 - 1920

Art, Nature, Time

“It would never have been possible for Byzantine court art to become the Christian art par excellence, if the Church itself had not become an absolute authority and had not felt itself to be mistress of the world. In other words, the Byzantine style was only able to gain a footing everywhere where there was a Christian art, because the Catholic Church in the West desired to become the power the Emperor was already in Byzantium.”

Arnold Hauser (1892–1978) Hungarian art historian

The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter IV. The Middle Ages

World, Art

“It was this indifference to the quality of his material that earned Liszt the contempt of his most distinguished contemporaries and of many of the most respectable critics and historians of posterity. It was, nevertheless, his greatest strength. It made it possible for him to manipulate the material ruthlessly, to concentrate on effects of realization with unprecedented intensity, and to integrate styles and techniques of performance into composition in a new way. His invention of novel keyboard effects and his mastery of musical gesture have always been undervalued, especially by pianists of the German school who prefer the kind of music that can be executed while soulfully regarding the ceiling. On the whole, the most genuine understanding of his music has been displayed by musicians of eastern Europe, and he may almost be considered as the founder of Russian pianism.”

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

Source: The Romantic Generation (1995), Ch. 8 : Liszt: On Creation as Performance

School, Music, Way, Understanding

“And for me Michelangelo's greatest work is one that was in his studio partly finished, partly unfinished when he died 'The Rondanini Pietà'. I don't know of any other single work of art by anyone that is more poignant, more moving. It isn't the most powerful of Michelangelo's works – it's a mixture, in fact, of two styles…. the changing became so drastic that I think he knocked the head off the sculpture… So the figure must originally have been a good deal taller. And if we see also the proportion of the length of the body of Christ compared with the length of the legs, there's no doubt that the whole top of the original sculpture has been cut away. Now this to me is a great question. Why should I and other sculptors I know, my contemporaries – I think that Giacometti feels this, I know Marino Marini feels it – find this work one of the most moving and greatest works we know of when it's a work which has such disunity in it?… But that's so moving, so touching: the position of the heads, the whole tenderness of the top part of the sculpture, is in my opinion more what it is by being in contrast with the rather finished, tough, leathery, typical Michelangelo legs. The top part is Gothic and the lower part is sort of Renaissance.”

Henry Moore (1898–1986) English artist

Quote of Henri Moore in his interview with David Silvester, in 'The Sunday Times Magazine', 16 Febr. 1964, pp. 18, 20-22
1955 - 1970

Art, Feeling, Question, Thinking

“To successfully respond to the myriad of changes that shake the world, transformation into a new style of management is required. The route to take is what I call profound knowledge - knowledge for leadership of transformation.”

W. Edwards Deming (1900–1993) American professor, author, and consultant

The New Economics for Industry, Government, Education (1993)

World, Knowledge, Change

“The separation of men from women at the dinner was still in the mediaeval tradition. Another interesting feature of the evening is the relatively small number of people involved. Eighteen sat down to dinner, fifteen couples danced at the ball. The entertaining was ‘the finest that ever was seen’ because of the style and richness of the accompaniments, not because of its size. This was typical of the period. Feasts for several hundred people were still being given in the country, to prepare for an election or celebrate Christmas, births, weddings, and comings of age. They usually centred round dinner in the hall, and could involve all the neighbouring gentry and near-gentry, and even the tenants and local freeholders. But the entertainments which enjoyed the most prestige were small but elaborate ones for relatively few people – just as the prestigious part of the house was devoted to a few large apartments for great people coming on what amounted to a state visit. A hard line was still drawn between the inner ring of the great and smaller fry.”

Mark Girouard (1931) British architectural historian

Life in the English Country House: A Social and Architectural History (1978)

Women, Men, People, Age

“If you are at Rome, live in the Roman style; if you are elsewhere, live as they live there.”
Si fueris Romae, Romano vivito more; Si fueris alibi, vivito sicut ibi.

Ambrose (339–397) bishop of Milan; one of the four original doctors of the Church

Quoted in Ductor Dubitantium, or the Rule of Conscience (1660) by Jeremy Taylor, I.i.5; commonly rendered into a proverb: "When in Rome, do as the Romans do", or simply "When in Rome..."

“I paint directly – then it's said to be an exact copy; and not art, probably because there's no perspective or shading. It doesn't look like a painting of something, it looks like the thing itself. Instead of looking like a painting of a billboard – the way a w:Reginald Marsh would look – Pop Art seems to be the actual thing. It is intensification, a stylistic intensification of the excitement which the subject matter has for me; but the style is, as you said, cool.”

Roy Lichtenstein (1923–1997) American pop artist

Source: 1960's, What is Pop Art? Interviews with eight painters' (1963), pp. 25-27

Art, Way, Painting

“During World War II it was exciting and unexpected for Hayek to find someone else, from Vienna, who was interested in many of the same topics that he was. The Open Society and Its Enemies has three main parts, on Plato, Hegel, and Marx. The next main chapters in Hayek’s uncompleted “The Abuse and Decline of Reason,” on which he was at work then, were to be on Hegel and Marx. In addition, Popper’s scholarly style was similar to Hayek’s, with extremely extensive notes.”

Alan O. Ebenstein (1959) American political scientist, educator and author

Hayek's Journey: The Mind of Friedrich Hayek (2003)

War, World, Parting

“The most interesting character here is an animal, a sturdy-looking white and black bulldog, who appears throughout the movie, angel style, to speak the truth -- silently. In this load of mind-bendy bushwa, he's the only thing worth watching, or listening to.”

Stephanie Zacharek (1963) American film critic

Review http://www.salon.com/ent/movies/review/2007/02/23/number_23/index.html of The Number 23 (2007)

Truth, Angels, Appearance, Animals

“Instead of an idea of style, which embraces too many associations, [I] have outlined the idea of a linked succession of prime works with replications, all being distributed in time as recognizably early and late versions of the same kind of action.”

George Kubler (1912–1996) American art historian

Source: The Shape of Time, 1982, p. 130

Idea, Time, Success

“Yet in a relatively short creative life of twenty years or so, Chopin redrew the boundaries of Romantic music, and his self-imposed restriction to the 88 keys of the piano keyboard sublimated nothing less than the aesthetic essence of piano music. It was his total identification with the instrument which, in its radical regeneration of the lyric and the dramatic, fantasy and passion and their unique fusion, shaped a tonal language which united an aristocratic sense of style and formal Classical training and intuition with an ascetic rigor. Chopin’s precisely marshaled trains of thought permitted no experiments, and so he did not ‘wander about’ within his stylistic points of reference as Scriabin was to do. Chopin’s works may seem light and improvisatory, but they are planned in meticulous details, exactly and well calculated.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Life, Music, Sense, Light

“Whoever wishes to attain an English style, familiar but not coarse, and elegant but not ostentatious, must give his days and nights to the volumes of Addison.”

Samuel Johnson (1709–1784) English writer

The Life of Addison
Lives of the English Poets (1779–81)

Night

“The Gothic tradition was begun by Ann Radcliffe, a rare example of a woman creating an artistic style.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 265

“In 1891 a student in Paris, I found myself face to face with a beautiful development of landscape painting, which was quite new to me. "Impressionism," together with its numerous progeny of eccentric offshoots, was at the time causing a great furore in the schools. Curiously enough I had been charged with copying Monet's style long before I had seen his actual work, so that my conversion into an enthusiastic Impressionist was short, in fact, an instantaneous process.”

Wynford Dewhurst (1864–1941) British artist

Source: Impressionist Painting: its genesis and development. (1904), p. vii; Preface.

School, Beauty, Time, Painting

“I will try to develop an entirely new style and I am sure I will succeed.”

Otto Mueller (1874–1930) German painter and printmaker of the expressionist movement

“I shall also pass over the bygone times of our cruel tyrants, whose notoriety was spread over to far distant countries; so that Porphyry, that dog who in the east was always so fierce against the church, in his mad and vain style added this also, that "Britain is a land fertile in tyrants."”
Et tacens vetustos immanium tyrannorum annos, qui in aliis longe positis regionibus vulgati sunt, it ut Porphyrius rabidus orientalis adversus ecclesiam canis dementiae suae ac vanitatis stilo hoc etiam adnecteret: ""Britannia"", inquiens, ""fertilis provincia tyrannorum"".

Gildas De Excidio et Conquestu Britanniae

Et tacens vetustos immanium tyrannorum annos, qui in aliis longe positis regionibus vulgati sunt, it ut Porphyrius rabidus orientalis adversus ecclesiam canis dementiae suae ac vanitatis stilo hoc etiam adnecteret: "Britannia", inquiens, "fertilis provincia tyrannorum".
Section 4.
Gildas's quotation is in fact from St. Jerome's Epistula 133.9.
De Excidio Britanniae (On the Ruin of Britain)

Dogs, Distant, Time, Madness

“No style can have absolute significance in art theory; each one is rooted in its own time and locality and bound by conditions above which it is incapable of elevating itself no matter how great the content it carries.”

Hermann Laroche

Quoted in Vladimir Barsky, Chromaticism (1996, ISBN 371865704X)

Art, Time

“Already at the age of 21 I played the complete organ works of Bach - and this by memory. As a child and youngster I had been taught by one of the last master-students of the legendary Helmut Walcha, and I completely had been affected by this style of insight into Bach and the internal structures. This method of regarding the independent coherence of all the voices gave me a special comprehension of Bach and his philosophy. Lastly one can say that I have been growing up with Bach, even to this day. If you understand the free organ works (preludes, toccatas, fugues), the chorales, and especially the trio sonatas, you have an insight into Bach that others don’t have. Especially the soloistic and independent leadings of the three voices of the trio sonatas is artistically the major aim of an organist; and already the Orgelbüchlein, the part 5 of the Peters Edition, shows Bach in all his structural and emotional effects. Albert Schweitzer described the Orgelbüchlein as something where the tonal speech of Bach is unbeatable. The comprehension of the organ-Bach is an understanding of the counterpoint and the polyphonic structures, and the coherence of Bach himself.”

Burkard Schliessmann classical pianist

Talkings on Bach

Age, Understanding, Memory, Parting

“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

“Oh dear, oh dear, how stupid men are when they get an idea into their heads! I tell you he's a good dragon, and a friend of mine, and tells me the most beautiful stories you ever heard, all about old times and when he was little. And he's been so kind to mother, and mother'd do anything for him. And father likes him too, though father doesn't hold with art and poetry much, and always falls asleep when the dragon starts talking about style. But the fact is, nobody can help liking him when once they know him. He's so engaging and so trustful, and as simple as a child!”

Kenneth Grahame book The Reluctant Dragon

The Boy to St. George
Dream Days (1898), The Reluctant Dragon

Men, Stupidity, Beauty, Art

“Yesterday you were an only child
Now your ghosts have gone away.
You can kill them in the classic style.
Now you, "parlez vous francais"
Don't look for answers
You took your chances
Don't ask my why.”

Billy Joel (1949) American singer-songwriter and pianist

Don't Ask Me Why.
Song lyrics, Glass Houses (1980)

Chance

“Terrorism' is a word that has become a plague on our vocabulary, the excuse and reason and moral permit for state-sponsored violence - our violence - which is now used on the innocent of the Middle East ever more outrageously and promiscuously. Terrorism, terrorism, terrorism. It has become a full stop, a punctuation mark, a phrase, a speech, a sermon, the be-all and end-all of everything that we must hate in order to ignore injustice and occupation and murder on a mass scale. Terror, terror, terror, terror. It is a sonata, a symphony, an orchestra tuned to every television and radio station and news agency report, the soap-opera of the Devil, served up on prime-time or distilled in wearyingly dull and mendacious form by the right-wing 'commentators' of the America east coast or the Jerusalem Post or the intellectuals of Europe. Strike against Terror. Victory over Terror. War on Terror. Everlasting War on Terror. Rarely in history have soldiers and journalists and presidents and kings aligned themselves in such thoughtless, unquestioning ranks. In August 1914, the soldiers thought they would be home by Christmas. Today, we are fighting for ever. The war is eternal. The enemy is eternal, his face changing on our screens. Once he lived in Cairo and sported a moustache and nationalised the Suez Canal. Then he lived in Tripoli and wore a ridiculous military uniform and helped the IRA and bombed American bars in Berlin. Then he wore a Muslim Imam's gown and ate yoghurt in Tehran and planned Islamic revolution. Then he wore a white gown and lived in a cave in Afghanistan and then he wore another silly moustache and resided in a series of palaces around Baghdad. Terror, terror, terror. Finally, he wore a kuffiah headdress and outdated Soviet-style military fatigues, his name was Yassir Arafat, and he was the master of world terror and then a super-statesman and then again, a master of terror, linked by Israeli enemies to the terror-Meister of them all, the one who lived in the Afghan cave.”

Robert Fisk (1946) English writer and journalist

The Great War for Civilization (2005)

Hate, War, World, Home

“The Italian Nerd does not exist (Nerd in the style of Gary Numan and Kraftwerk, of The Feelies and Devo). The Italian male does not feel / recognize the relevance of nerddom. This was felt at the Milan airport as a patrician black-clad gentleman moved the croissant into his mouth with gusto. The nerds, or what was left of them, were offered American coffee.”

David Woodard (1964) American writer, conductor and businessman

with Christian Kracht
Five Years (2011)

Feeling, Coffee

“I write this sitting in my hand-built adobe-style home looking out on the Bitterroot Valley… It's a place where the "Old" West and the "New" confront one another daily in often bazarre ways. …I'm sort of a New Westerner myself. Because of relatively recent inventions like solar panels, satellites, cell phones, composting toilets, and four-wheel drive vehicles, I'm able to live where no one has since the Salish had the valley. …perhaps it all just seems new because the prism through which we're accustomed to view the history of the region has only recently been polished sufficiently to gain the deep view.”

Dan Flores (1948) American historian

The Natural West: Environmental History in the Great Plains and Rocky Mountains (2003)

Way, Home, History

“In truth, modern life requires many people of talent and intelligence to run big institutions, including governments. Others resent their quality wherever they find it. They see it as oppressive. Then Donald Trump came before them and sneered at government leadership, in a style that had nothing to do with talent or intelligence…. To accomplish this, his followers needed only to mark a ballot. Soon he looked like the man they always needed. In the future, this strategy may well be called Trumpism. For now, American journalists call it populism.”

Robert Fulford (journalist) (1932) Canadian journalist

Until Trump, no openly racist candidate in modern times has reached such a height in U.S. politics (August 5, 2016)

Life, People, Truth, Intelligence

“It was a DJ style which helped to create the lifestyle which came to be known as hip hop. At the beginning of the disco era in the first half of the 1970s, regular disco jocks in clubs were most concerned with the blend between one record and the next - matching tempos to make a smooth transition which, at its best, could continually alter the mood on the dancefloor without breaking the flow.”

David Toop (1949) British musician

David Toop (1991). Rap Attack 2: African Rap To Global Hip Hop, p.12. New York. New York: Serpent's Tail. ISBN 1852422432.

Mood, Help

“It's hard to be creative and it's also hard not to think what you do is creative or hard not to be called creative because everybody is always talking about that and individuality. Everybody's always creative. And it is so funny when you say things aren't, like the shoe I would draw for an advertisement was called a 'creation', but the drawing of it was not... There are millions of actors. They're all pretty good. And how many painters are there? Millions of painters and all pretty good. How can you say one style is better then another. You ought to be able to be an Abstract-expressionist next week, or a Pop artist, or a realist, without feeling you're given up something.”

Andy Warhol (1928–1987) American artist

Source: 1963 - 1967, What Is Pop Art? Interviews with Eight Painters, Part 1 (1963), pp. 116-19

Shoe, Feeling, Thinking, Drawing

“You see, lots of the real people can't do it at all: they're such fools that they think style comes by nature to people in their position; and so they never learn. There's always something professional about doing a thing superlatively well.”

George Bernard Shaw (1856–1950) Irish playwright

1910s, Pygmalion (1912)

People, Fools, Nature, Thinking

“Since I was a child, I’ve used my imagination to escape from life. At the same time, my imagination has plagued me with both reality-based anxieties as well as anxieties based entirely in the imagination, such as the fear of Hell I was taught to have by the Catholic Church. Paired with a talent for literary composition, a talent that it took me over ten years to refine, I became a writer of horror stories. To my mind, writing is the most important form of human expression, not only artistic writing but also philosophical writing, critical writing, etc. Art as such, especially programmatic music such as operas, seems trivial to me by comparison, however much pleasure we may get from it. Writing is the most effective way to express and confront the full range of the realities of life. I can honestly say that the primary stature I attach to writing is not self-serving. I’ve been captivated to some degree by all forms of creativity and expression—the visual arts, film, design of any sort, and especially music. In college I veered from literature to music for a few years, which is the main reason it took me six years to get an undergraduate degree in liberal arts. I’ve loved music for as long as I can remember. Since my instrument is the guitar, I know every form and style in its history and have written the classical, acoustic, and electric forms of this instrument. I think because I have had such a love and understanding of music do I realize, to my grief, its limitations. Writing is less limited in the consolations it offers to those who have lost a great deal in their lives. And it continues to console until practically everything in a person’s life has been lost. Words and what they express have the best chance of returning the baneful stare of life.”

Thomas Ligotti (1953) American horror author

Wonderbook Interview with Thomas Ligotti http://wonderbooknow.com/interviews/thomas-ligotti/

Love, Life, Pleasure, Fear

“We do not inhabit a perfected world where natural selection ruthlessly scrutinizes all organic structures and then molds them for optimal utility. Organisms inherit a body form and a style of embryonic development; these impose constraints upon future change and adaptation. In many cases, evolutionary pathways reflect inherited patterns more than current environmental demands. These inheritances constrain, but they also provide opportunity. A potentially minor genetic change […] entails a host of complex, nonadaptive consequences. […] What “play” would evolution have if each structure were built for a restricted purpose and could be used for nothing else? How could humans learn to write if our brain had not evolved for hunting, social cohesion, or whatever, and could not transcend the adaptive boundaries of its original purpose?”

Stephen Jay Gould book Hen's Teeth and Horse's Toes

"Hyena Myths and Realities", p. 156
Hen's Teeth and Horse's Toes (1983)

World, Optimism, Nature, Learning

“I started those [the 'Elisabeth Taylor' pictures, Warhol made from a publicity photo of her 1960 film 'BUtterfield 8 a long time ago when she was so sick and everybody said she was going to die [but she recovered]. Now I'm doing them all over, putting bright colors on her lips and eyes. My next series will be pornographic pictures, they will look blank; when you turn on the black lights, then you will see them - big breast and... If a cop came in, then you could just flick out the lights or turn to the regular lights. How could you say that was pornography?... Segal did a sculpture of two people making love, but he cut it all up, I guess because he thought it was too pornographic to be art... The thing I like about it is that it makes you forget about style and that sort of things; style isn't really important.”

Andy Warhol (1928–1987) American artist

Source: 1963 - 1967, What Is Pop Art? Interviews with Eight Painters, Part 1 (1963), pp. 116-19

Love, People, Making love, Art

“I suspect it is this Camelot view that leads Miss Croce to be rather unfair to Gene Kelly…I should say the difference starts with their bodies. If you compare Kelly to Astaire, accepting Astaire's debonair style as perfection then, of course, Kelly looks bad. But in popular dance forms, in which movement is not rigidly codified, as it is in ballet, perfection is a romantic myth or a figure of speech, nothing more. Kelly isn't a winged dancer; he's a hoofer and more earthbound. But he has warmth and range as an actor…Astaire's grasshopper lightness was his limitation as an actor - confining him to perennial gosh-oh-gee adolescence;; he was always and only a light comedian and could function only in fairytale vehicles.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Pauline Kael, responding to Croce in her review of Croce's The Fred Astaire and Ginger Rogers Book, writing in The New Yorker, November 25, 1972, as reproduced in Kael, Pauline. Reeling: Film Writings 1972-1975, Marion Boyars, London - New York, pp. 58-59. ISBN 0-7145-2582-0.

Fairytale, Light, Dance, Perfection

“They certainly demonstrate that Seth, whether an aspect of Jane Robert's unconscious mind or a genuine "spirit," was of a high level of intelligence. Yet when Jane Roberts produced a book that purported to be the after-death journal of the philosopher William James, it was difficult to take it seriously. James's works are noted for their vigour and clarity of style; Jane Robert's "communicator" writes like an undergraduate... there is a clumsiness here that is quite unlike James's swift-moving, colloquial prose.”

Colin Wilson (1931–2013) author

Source: The Mammoth Encyclopedia of the Unsolved (2000), p. 390

Death, Books, Intelligence, Communication

“I have lately been reading Modern Painters, and I have derived from the work much genuine pleasure and, I hope, some edification; at any rate it made me feel how ignorant I had previously been on the subject which it treats. Hitherto I have only had instinct to guide me in judging of art; I feel now as if I had been walking blindfold — this book seems to give me eyes. I do wish I had pictures within reach by which to test the new sense. Who can read these glowing descriptions of (J. M. W.) Turner’s works without longing to see them? However eloquent and convincing the language in which another’s opinion is placed before you, you still wish to judge for yourself. I like this author’s style much; there is both energy and beauty in it: I like himself too, because he is such a hearty admirer. He does not give Turner half-measure of praise or veneration; he eulogizes, he reverences him (or rather his genius) with his whole soul. One can sympathize with that sort of devout, serious admiration (for he is no rhapsodist) one can respect it; and yet possibly many people would laugh at it. I am truly obliged to Mr. Smith for giving me this book, not having often met with one that has pleased me more.”

Charlotte Brontë (1816–1855) English novelist and poet

Charlotte Brontë, on Modern Painters, Vol. 1 (1843), by John Ruskin. Letter to W. S. Williams (31 July 1848) The Letters of Charlotte Brontë

People, Pleasure, Books, Beauty

“I might say that what amateurs call a style is usually only the unavoidable awkwardnesses in first trying to make something that has not heretofore been made.”

Ernest Hemingway (1899–1961) American author and journalist

Paris Review interview (1958)

“Those of us whose parenting style can be described as "a series of reflexes, instincts, and minute-by-minute adjustments," as Julie of A Little Pregnant puts it, rather than as a philosophy, are less invested in our own practices. What we do is often less a matter of conviction than one of convenience. What we need to remember is that there is no need to apologize for that, even in the face of the most red-faced outrage.”

Ayelet Waldman (1964) American- Israeli writer

Salon.com column http://www.salon.com/mwt/col/waldman/2005/08/15/judgment/index1.html

Parent

“Posh does not equal style. Really, God, that's just ridiculous. Posh equals tradition. Anyone can achieve style. It doesn't matter who you are or where you're from.”

Susannah Constantine (1962) British fashion designer and journalist

As quoted in "Mammary mia!" by Vicky Allan in The Sunday Herald http://findarticles.com/p/articles/mi_qn4156/is_20020908/ai_n12578387/pg_1 (8 September 2002)

God

“I am still at the crease, though the bowling has been pretty hostile of late. And in case anyone doubted it, can I assure you there will be no ducking the bouncers, no stonewalling, no playing for time. The bowling's going to get hit all round the ground. That is my style.”

Margaret Thatcher (1925–2013) British stateswoman and politician

Lord Mayor's Banquet at Guildhall (12 November 1990) http://www.margaretthatcher.org/speeches/displaydocument.asp?docid=108241 Third term as Prime Minister

Hostility, Time

“I think I can pinpoint the one moment when the American style of dressing first appeared. It was in an appalling 1933 movie called Dancing Lady during an otherwise forgettable dance number. It also just happened to be Fred Astaire's first on-camera dance. But don't look at the steps. Look at the outfit: Astaire is wearing a single-breasted, soft flannel suit with two-tone spectator shoes and a turtleneck. You wish you could look that stylish! Later that year, in Flying Down to Rio, we get the full Astaire impact. The muted plaid suit is not all that striking, but Fred is wearing it with a soft button-down shirt, a pale woven tie, silk pocket square, bright horizontally striped hose and white bucks. Whoa! Now that's different. This melange of the classic and the sporty was an American innovation. As we approach the impeccable Astaire's 100th birthday on May 10, it's worth remembering that he remains the greatest exemplar of that style.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

G. Bruce Boyer in "Shall We Dress?" Forbes, May 3rd, 1999.

Shoe, Birthday, Thinking, Appearance

“It is over! The USA have made it, in a Hollywood-style finish!”

Ian Darke (1950) British association football and boxing commentator

United States v. Algeria http://www.listenonrepeat.com/watch/?v=DALDkkXodRU (23 June 2010). 2010s, 2010, 2010 FIFA World Cup

“If running a productive, Western-style economy were simply a matter of culture, it should be possible for African and Middle Eastern countries to import Western institutions and business methods, just as East Asian countries have done. But this is evidently not a straightforward task. Though it was justifiable at first to blame the evils of colonialism, two generations or more have now passed since most foreign powers withdrew from Africa and the Middle East, and the strength of this explanation has to some extent faded.”

Nicholas Wade (1942) British writer

A Troublesome Inheritance: Genes, Race and Human History (2014)

Business, Evil, Country

“The defects of German philosophy are those of professionalism: a closed atmosphere, books instead of life, inability to communicate discoveries to the world at large, contempt for good style, inbreeding, lack of general culture, gruesome earnestness. The defects of the cultured philosophe are those of amateurism: too many interests, superficiality, the cultivation of good style as an end in itself, the sacrifice of truth to wit, lack of intellectual honesty, philosophizing but no philosophy, inconsistency. Nietzsche achieves a balance between these two types of mind and two styles of expression: he is profound but not obscure; he aims at good style but reconciles it with good thinking; he is serious but not earnest; he is a sensitive critic of the arts and of culture but not an aesthete; he is an aphorist and epigrammist, but his aphorisms and epigrams derive from a consistent philosophy; he is the wittiest of philosophers, but he rarely succumbs to the temptation to sacrifice truth to a witty phrase; he has many interests but never loses sight of his main interests. He achieves, especially in his later works, a conciseness and limpidity notoriously rare in German writing: no modern thinker of a like profundity has had at his command so flexible an instrument of expression.”

R. J. Hollingdale (1930–2001) British Author

1. The Child
Nietzsche (1965, 1999)

Life, Truth, Books, World

“His consolation in those hours when he was most uncharitable to himself is that taken at his very worst he was at least still worthy of being a character in a novel by Balzac, win one day, lose the next, and do it with boom! and baroque in the style.”

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

Armies of the Night (1968)

“The idea that humans form pair bonds, and that males often invest in their young, has a long history in biological anthropology. Early incarnations of the idea were criticized for painting an overly simplistic picture, according to which “Man the Hunter” provisioned his dependent wife and children with meat in a stable nuclear family, suspiciously reminiscent of a 1950s-style Western family. However, with appropriate amendments and qualifications, the idea that pair bonding and biparental care are a central part of our evolutionary endowment appears to be viable.”

Steve Stewart-Williams (1971)

Source: The Ape that Thought It Was a Peacock: Does Evolutionary Psychology Exaggerate Human Sex Differences? (2013), p. 145

Children, Family, History, Idea

“It seemed strange to me that someone who painted big, scary abstractions should have been so commonsensical in her literary tastes, though later I would discover that twelve-tone composers read Keats just as experimental poets listened to Glenn Miller — few people are avant-garde outside their own domain.I suppose that as Midwesterners, the children of chemical engineers and homemakers, we experienced the arts as so foreign, even so preposterously unreasonable, that once we’d decided to embrace them we did so with lots of conviction and little discrimination. Surely it was no accident that T. S. Eliot and Ezra Pound, the two great poetic synthesists of our day, the very men who had ransacked all of world culture and could refer in the same poem to the Buddha and to Sophocles or to Confucius and to Jefferson — it was no accident that they were both from the heartland. Public-library intellectuals, magpies of knowledge, like most autodidacts we were incapable of evaluating our sources. As a teen-ager, I tried to write verse like Milton’s; later, I wanted to write novels like Nabokov’s. In a novel I wrote in college, I imitated Evelyn Waugh. If someone had said to me, "But do you, the graceless son of a Cincinnati broker of chemical equipment, do you seriously imagine that you can just write a Renaissance Christian epic or something in the style of a Cambridge-educated Russian aristocrat or of the spokesman of the Bright Young Things of London circa 1925?"”

Edmund White (1940) American novelist and LGBT essayist

if someone had spoken like this to me, I wouldn’t even have understood his point. My Women.The New Yorker https://archive.is/20121204150452/www.newyorker.com/fact/content/articles/050613fa_fact 6 June 2005 Articles and Interviews

Men, Children, People, World

“Cloudy all day. Showery on mtns. to eastward at noon. Fine thunderstorm evening, with grand display of zigzag intensely vivid & very near with keen cracks [and] grand trailing rain … Visited Elk ranch. About sixty old & young. Old bulls carry horns in noble style & grand airs.”

John Muir (1838–1914) Scottish-born American naturalist and author

journal entry, Island Park, Idaho (26 August 1913) — the last field entry http://digitalcollections.pacific.edu/cdm/ref/collection/muirjournals/id/3843/show/3839 in Muir's last field journal 1910s

“When taken as a way of modeling cognitive architecture, connectionism really does represent an approach that is quite different from that of the classical cognitive science that it seeks to replace. Classical models of the mind were derived from the structure of Turing and Von Neumann machines. They are not, of course, committed to the details of these machines as exemplified in Turing's original formulation or in typical commercial computers—only to the basic idea that the kind of computing that is relevant to understanding cognition involves operations on symbols.. In contrast, connectionists propose to design systems that can exhibit intelligent behavior without storing, retrieving, or otherwise operating on structured symbolic expressions. The style of processing carried out in such models is thus strikingly unlike what goes on when conventional machines are computing some function.”

Jerry Fodor (1935–2017) American philosopher

Jerry A. Fodor, and Zenon W. Pylyshyn. "Connectionism and cognitive architecture: A critical analysis." Cognition 28.1-2 (1988): 3-71.

Way, Behavior, Intelligence, Idea

“It has nothing to do with dinosaurs. Good taste doesn't go out of style”

Linus Torvalds (1969) Finnish-American software engineer and hacker

About the C programming language, vs. C++ Re: RFC Convert builin-mailinfo.c to use The Better String Library., 7 Sep 2007, gmane.comp.version-control.git, 12 Sep 2012 http://article.gmane.org/gmane.comp.version-control.git/57957, 2000s, 2007

“I beg to introduce myself to you as a clerk in the Accounts Department of the Port Trust Office at Madras… I have no University education but I have undergone the ordinary school course. After leaving school I have been employing the spare time at my disposal to work at Mathematics. I have not trodden through the conventional regular course which is followed in a University course, but I am striking out a new path for myself. I have made a special investigation of divergent series in general and the results I get are termed by the local mathematicians as "startling"…. Very recently I came across a tract published by you styled Orders of Infinity in page 36 of which I find a statement that no definite expression has been as yet found for the number of prime numbers less than any given number. I have found an expression which very nearly approximates to the real result, the error being negligible. I would request that you go through the enclosed papers. Being poor, if you are convinced that there is anything of value I would like to have my theorems published. I have not given the actual investigations nor the expressons that I get but I have indicated the lines on which I proceed. Being inexperienced I would very highly value any advice you give me. Requesting to be excused for the trouble I give you. I remain, Dear Sir, Yours truly…”

Srinivasa Ramanujan (1887–1920) Indian mathematician

Letter to G. H. Hardy, (16 January 1913), published in Ramanujan: Letters and Commentary American Mathematical Society (1995) History of Mathematics, Vol. 9

Education, School, Error, Mathematics

“The fact that Fred and I were in no way similar - nor were we the best male dancers around never occurred to the public or the journalists who wrote about us…Fred and I got the cream of the publicity and naturally we were compared. And while I personally was proud of the comparison, because there was no-one to touch Fred when it came to "popular" dance, we felt that people, especially film critics at the time, should have made an attempt to differentiate between our two styles. Fred and I both got a bit edgy after our names were mentioned in the same breath. I was the Marlon Brando of dancers, and he the Cary Grant. My approach was completely different from his, and we wanted the world to realise this, and not lump us together like peas in a pod. If there was any resentment on our behalf, it certainly wasn't with each other, but with people who talked about two highly individual dancers as if they were one person. For a start, the sort of wardrobe I wore - blue jeans, sweatshirt, sneakers - Fred wouldn't have been caught dead in. Fred always looked immaculate in rehearsals, I was always in an old shirt. Fred's steps were small, neat, graceful and intimate - mine were ballet-oriented and very athletic. The two of us couldn't have been more different, yet the public insisted on thinking of us as rivals…I persuaded him to put on his dancing shoes again, and replace me in Easter Parade after I'd broken my ankle. If we'd been rivals, I certainly wouldn't have encouraged him to make a comeback.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Gene Kelly interviewed in Hirschhorn, Clive. Gene Kelly, A Biography. W.H Allen, London, 1984. p. 117. ISBN 0491031823.

People, World, Shoe, Way

“The author of the oldest extant Sanskrit grammar was Panini, a native of extreme north-west India, … His work consists of nearly 4000 aphorisms, each of which owing to the extreme conciseness of the style, generally consists of not more than two or three words. Hence, the whole grammar could be printed within the compass of about thirty-five octavo pages. Yet it describes the entire Sanskrit language with a completeness which has never been equalled elsewhere. Thus it is at once the shortest and the fullest grammar in the world.”

Pāṇini ancient Sanskrit grammarian

Gazetteer in: Sanskrit literature http://dsal.uchicago.edu/reference/gazetteer/pager.html?objectid=DS405.1.I34_V02_298.gif,The Digital South Asia Library - University of Chicago (dsal.uchicago.edu)

World

“Get this party started on a Saturday night,
Everybody's waitin' for me to arrive.
Sendin' out the message to all of my friends,
We'll be lookin' flashy in my Mercedes Benz.
I got lotsa style, got my gold diamond rings,
I can go for miles if you know what I mean.
I'm comin' up so you better you better get this party started.
I'm comin' up so you better you better get this party started.”

Pink (singer) (1979) American singer-songwriter

Get the Party Started, written by Linda Perry
Song lyrics, Missundaztood (2001)

Night

“Then there’s the styling. Or rather, there isn’t. Any attempt to give these cars a tapering roofline or a curved rear end is wasteful of precious capacity, which means all of them look exactly – and I mean exactly – like chest freezers. And because they have such tiny wheels they actually look like chest freezers on casters. And that in turn means they look absurd.”

Jeremy Clarkson (1960) English broadcaster, journalist and writer

Sunday Times June 8, 2008, reviewing the Nissan GT-R http://www.timesonline.co.uk/tol/driving/jeremy_clarkson/article4076537.ece

Cars

“In our preoccupations with sex, our submission to gods and leaders, our sometimes suicidal commitment to ideas, religions, and trivial details of cultural style, we become the unconscious creators of the social organism's exploits.”

Howard Bloom (1943) American publicist and author

The Clint Eastwood Conundrum
The Lucifer Principle: A Scientific Expedition Into the Forces of History (1997)

God, Religion, Sex, Idea

“We may be assured that as Christianity comes into actual close contact with Orientals of acute intellects…it will be met with a style of controversy which will come upon some among us with surprise. Many things will be disputed which we have been accustomed to take for granted, and proofs will be demanded, which those who have been brought up in the external evidence school of the last century, may not be prepared to supply.”

John Muir (indologist) (1810–1882) Scottish Sanskrit scholar and Indologist

Cited by R.F. Young and quoted from Goel, S. R. (2016). History of Hindu-Christian encounters, AD 304 to 1996. Chapter 10. ISBN 9788185990354 https://web.archive.org/web/20120501043412/http://voiceofdharma.org/books/hhce/

School

“A writer must always try to have a philosophy and he should also have a psychology and a philology and many other things. Without a philosophy and a psychology and all these various other things he is not really worthy of being called a writer. I agree with Kant and Schopenhauer and Plato and Spinoza and that is quite enough to be called a philosophy. But then of course a philosophy is not the same thing as a style.”

Gertrude Stein (1874–1946) American art collector and experimental writer of novels, poetry and plays

Quoted by Frederic Prokosch in Voices: A Memoir (1983)

“Abdul Qadir Badaoni is not an exception. This style of writing, born out of the ingrained prejudice against non-Muslims, is found in all medieval chronicles in various shades of intensity. They denounce non-Muslims. They write with jubilation about the destruction of their temples, massacre of men, raising towers of skulls and such other “achievements”. They also write about the enslavement of women and children, and the licentious life of their captors, their polygamy and concubinage. There is a saying that no man is condemned save by his own mouth. By painting their heroes as cruel and atrocious destroyers of infidelity, Muslim chroniclers themselves have brought odium on the kings and conquerors of their own race and religion, all the while thinking that they were bringing a good name to them.”

K. S. Lal book The Legacy of Muslim Rule in India

Source: The Legacy of Muslim Rule in India (1992), Chapter 3

Life, Women, Men, Children

“I don’t believe in fashion dictatorship, and I find that anybody who follows the dictates of fashion is a bit lost. I’m excited by style, not so much by fashion.”

Marc Jacobs (1963) American fashion designer

Jonkers, Gert (2003). "Friendly homosexual fashion designer likes dogs but finds fashionable men terribly unsexy" http://www.buttmagazine.com/Issues/7_Jacobs.html buttmagazine.com (accessed April 19, 2007) On his perfect customer

Fashion