Quotes about styling
page 5

“A diverse community is a resilient community, capable of adapting to changing situations. However, diversity is a strategic advantage only if there is a truly vibrant community, sustained by a web of relationships. If the community is fragmented into isolated groups and individuals, diversity can easily become a source of prejudice and friction. But if the community is aware of the interdependence of all its members, diversity will enrich all the relationships and thus enrich the community as a whole, as well as each individual member. In such a community information and ideas flow freely through the entire network, and the diversity of interpretations and learning styles-even the diversity of mistakes-will enrich the entire community.”

Francisco Varela (1946–2001) Chilean biologist

Maturana and Varela (1987) The Tree of Knowledge as cited in: Fritjof Capra (1996) The Web of Life. p. 330

Communication, Idea, Learning, Change

“[T]he effects of general change [in literature] are most tellingly recorded not in alteration of the best products, but in the transformation of the most ordinary workaday books; for when potboilers adopt the new style, then the revolution is complete.”

Stephen Jay Gould (1941–2002) American evolutionary biologist

"Good Sports & Bad", p. 335; originally published in The New York Review of Books (1995-03-02)
Triumph and Tragedy in Mudville (2003)

Books, Literature, Change

“The new self-styled social justice intellectuals and parties do not want an India without castes, they want castes without dharma.”

Ram Swarup (1920–1998) Indian historian

Ram Swarup: “Logic behind Perversion of Caste”, Indian Express, 13-9-1996.

Justice

“There's a track called 'Why' that I really like. It's in the rock style again and I'm very satisfied with the lyrics. I wrote it after looking at a painting which had lots of things going on at the same time. Another song I really like is called 'I Still Love', because it's a little bit harder than the other ones.”

Basshunter (1984) Swedish singer, record producer and DJ

DigitalSpy interview with Alex Fletcher (7 September 2009) http://www.digitalspy.com/music/interviews/a175727/basshunter/ Bass Generation

Love, Time, Painting

“The style in which it was written told me much: I found that a man who cannot phrase his thoughts cleanly on paper probably has no thoughts worth notice.”

Robert Silverberg book A Time of Changes

Source: A Time of Changes (1971), Chapter 27 (p. 89)

“They say the average bank robber lives within say about 20 miles of the bank that he robs
There's this little bank not so far from here I've been watching now for a while
Seems like lately alls I can think about is how bad I wanna go out in style”

Todd Snider (1966) American singer

Statistician's Blues.
Near Truths and Hotel Rooms (2003)

Thinking

“Children aren't like that, which is why they look so young, 'cause they always have a sense of style and purpose. When they're walking around, they have a very definite purpose, they're walking. And it's a great walk as well, it's not an adult's sort of bemused shuffle, it's that 'I'm going over here.' And you say 'Why are you going over there?' 'Because I have a harmonica.' 'What are you doing with the harmonica?' 'I'm going to put it in the toilet.”

Dylan Moran (1971) Irish actor and comedian

'Why are you doing tha—' 'Enough questions, goodbye!'
On children's attitude.
Like, Totally (2006)

Children, Question, Sense

“I adore these books. Howard has a gritty, vibrant style--broadsword writing that cuts its way to the heart, with heroes who are truly larger than life. I heartily recommend them to anyone who loves fantasy.”

Robert E. Howard (1906–1936) American author

~ David Gemmell
About

Love, Life, Books, Way

“Status is dependent in the long run upon high class position — the maintenance of a prestigious style of life costs money — there is no necessary correspondence between them at any given time.”

Walter F. Buckley (1922–2006) American sociologist

Source: Class and society (1959), p. 48.

Life, Money, Time, Dependency

“The true artist has no style. Style is an exterior decorative element. The true artist as servant of his matter, transcends it with an absolute freedom.”

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

quote, 1984 - from ATV', 188; p. 49
Karel Appel, a gesture of colour' (1992/2009)

Freedom

“But perhaps they were thrown off by my playing style, which was intuitive-and perhaps a little influenced by Vodka. I ran away with the match early. The result was overwhelmingly in my favour: four wins, five draws and only one loss –an annihilation. The Russians were stunned. I was pretty surprised myself.”

Viswanathan Anand (1969) Indian chess player

On his match against Alexey Dreev held at Chennai in 1991. page=291.
Reimagining India: Unlocking the Potential of Asia’s Next Superpower

Loss, Drawing

“The excursus upon the origin of Odysseus’ scar is not basically different from the many passages in which a newly introduced character, or even a newly appearing object or implement, though it be in the thick of a battle, is described as to its nature and origin; or in which, upon the appearance of a god, we are told where he last was, what he was doing there, and by what road he reached the scene; indeed, even the Homeric epithets seem to me in the final analysis to be traceable to the same need for an externalization of phenomena in terms perceptible to the senses. Here is the scar, which comes up in the course of the narrative; and Homer’s feeling simply will not permit him to see it appear out of the darkness of an unilluminated past; it must be set in full light, and with it a portion of the hero’s boyhood. … To be sure, the aesthetic effect thus produced was soon noticed and thereafter consciously sought; but the more original cause must have lain in the basic impulse of the Homeric style: to represent phenomena in a fully externalized form, visible and palpable in all their parts, and completely fixed in their spatial and temporal relations. Nor do psychological processes receive any other treatment: here too nothing must remain hidden and unexpressed. With the utmost fullness, with an orderliness which even passion does not disturb, Homer’s personages vent their inmost hearts in speech; what they do not say to others, they speak in their own minds, so that the reader is informed of it. Much that is terrible takes place in the Homeric poems, but it seldom takes place wordlessly: Polyphemus talks to Odysseus; Odysseus talks to the suitors when he begins to kill them; Hector and Achilles talk at length, before battle and after; and no speech is so filled with anger or scorn that the particles which express logical and grammatical connections are lacking or out of place.”

Erich Auerbach Mimesis: The Representation of Reality in Western Literature

Source: Mimesis: The Representation of Reality in Western Literature (1946), p. 5

God, Feeling, Nature, Sense

“Mary knows that within her a child is gestating. For she thereupon composed a song. It is the greatest song in history. This "Magnificat" is the battle-hymn of democracy. Sensing a child within her, Mary feels herself equal to the Roman Empire; and she announces that the days of despotism are numbered. Caesar on his seven-hilled throne may sacrilegiously style himself Augustus, "the divine one." But Mary as confidently disallows him that title. Heaven is not on the side of privilege and oppression, she affirms, but is rather on the side of the trodden. Rome is great, but Galilee with God is greater. In this song three classes of people are objects of Our Lady's invective — "the proud," "the mighty," and "the rich."”

Bouck White (1874–1951) American author and novelist

And she passes upon them a threefold sentence: they are to be "scattered," "put down from their seats," and "sent empty away."
Source: The Call of the Carpenter (1914), p. 22

God, People, Feeling, Democracy

“For beauty is enhanced by clothes of style.”

Ludovico Ariosto book Orlando Furioso

Che talor cresce una beltà un bel manto.
Canto XXVIII, stanza 12 (tr. B. Reynolds)
Orlando Furioso (1532)

Beauty, Clothes

“[Y]ou see evidence in the united Europe—in which there is free circulation of people and ideas—of a much more homegrown European-style antisemitism. You see a sort of waning of vigilance. You see a rise of the kind of clubby, dinner-party type antisemitism in England, where it is very strong. So I do think there is a new antisemitism, but I'm afraid it hasn't so much replaced the old antisemitism as exists alongside of it.”

Christopher Caldwell (1962) American political writer

Interview with the U.S. Holocaust Memorial Museum (2007)

People, Idea, Thinking, Strong

“I have twice seen Macready act; once in Macbeth and once in Othello. I astounded a dinner-party by honestly saying I did not like him. It is the fashion to rave about his splendid acting; anything more false and artificial, less genuinely impressive than his whole style, I could scarcely have imagined. The fact is, the stage-system altogether is hollow nonsense. They act farces well enough; the actors comprehend their parts and do them justice. They comprehend nothing about tragedy or Shakespeare, and it is a failure. I said so, and by so saying produced a blank silence, a mute consternation.”

Charlotte Brontë (1816–1855) English novelist and poet

Charlotte Brontë, on William Macready. Charlotte Brontë and Her Circle, (by Clement King Shorter) (1896)

Justice, Imagination, Fashion, Failure

“Maybe "just one little global variable" isn't too unmanageable, but that style leads to code that is useless except to its original programmer”

Bjarne Stroustrup book The C++ Programming Language

[Stroustrup, Bjarne, The C++ Programming Language, 467]

“If I'm teaching deep things, then I view it as important to make people feel like they're learning deep things, because otherwise, they will still have a hole in their mind for "deep truths" that needs filling, and they will go off and fill their heads with complete nonsense that has been written in a more satisfying style.”

Eliezer Yudkowsky (1979) American blogger, writer, and artificial intelligence researcher

A comment on "Mind Control and Me" at LessWrong.com (March 2009) http://lesswrong.com/lw/46/mind_control_and_me/319?context=1

People, Truth, Feeling, Learning

“The style of how we play is very important. But it is omelettes and eggs. No eggs - no omelettes! It depends on the quality of the eggs. In the supermarket you have class one, two or class three eggs and some are more expensive than others and some give you better omelettes. So when the class one eggs are in Waitrose and you cannot go there, you have a problem.”

José Mourinho (1963) Portuguese association football player and manager

http://news.bbc.co.uk/sport2/hi/funny_old_game/7004282.stm Chelsea FC

Problem, Dependency

“"You can't play anything on a horn that Louis hasn't played." and "I love Pops" (Louis' nickname) … Louis has been through all kinds of styles. That's good tuba, by the way. You know you can't play anything on a horn that Louis hasn't played — I mean even modern. I love his approach to the trumpet; he never sounds bad. He plays on the beat — with feeling. That's another phrase for swing. I also love the way he sings.”

Miles Davis (1926–1991) American jazz musician

In the Jazz Review with Nat Hentoff (1958); also in , and in many other books https://www.google.com/search?tbm=bks&hl=en&q=%22play+anything+on+a+horn%22+miles+davis On Louis Armstrong in a Playboy magazine interview. 1950s

Love, Way, Feeling, Singing

“There are very different programming styles. I tend to see them as Mozart versus Beethoven. When Mozart started to write, the composition was finished. He wrote the manuscript and it was 'aus einem Guss' (from one cast). In beautiful handwriting, too. Beethoven was a doubter and a struggler who started writing before he finished the composition and then glued corrections onto the page. In one place he did this nine times. When they peeled them, the last version proved identical to the first one.”

Edsger W. Dijkstra (1930–2002) Dutch computer scientist

Dijkstra (2001) Source: Denken als discipline https://www.youtube.com/watch?v=-Uae9_pgZzE#t=280, a program from Dutch public TV broadcaster VPRO from April 10th, 2001 about Dijkstra 2000s

Beauty, Time

“Many great writers have been extraordinarily awkward in daily exchange, but the greatest give the impression that their style was nursed by the closest attention to colloquial speech.”

Thornton Wilder (1897–1975) American playwright and novelist

Writers at Work interview (1958)

“It’s a perfect killing machine…A handgun [wound] is simply a stabbing with a bullet. It goes in like a nail…[With the high-velocity rounds of the AR-15 style rifle] it's as if you shot somebody with a Coke can.”

Peter Rhee (1961) American surgeon

[February 22, 2018, All-American Killer: How the AR-15 Became Mass Shooters’ Weapon of Choice, w:Tim Dickinson, Tim, Dickinson, Rolling Stone, September 4, 2018, https://www.rollingstone.com/politics/politics-features/all-american-killer-how-the-ar-15-became-mass-shooters-weapon-of-choice-107819/]

Perfection

“[Hip-hop dancers] are stunning in what they can do. What's happening is they're starting to go to class; they're actually starting to get some professional lessons. And that, for me, is very exciting because we've always discussed fusing the different styles. And to see them take it on board now and to do different things, even ballroom, is terrific, because nobody can do what they can do. So, if they then start doing what other people can do, wow. They're going to be very dangerous contestants.”

Nigel Lythgoe (1949) Executive producer and television director

People

“Jazz I regard as an American folk music; not the only one, but a very powerful one which is probably in the blood and feeling of the American people more than any other style of folk music.”

George Gershwin (1898–1937) American composer and pianist

"The Relation of Jazz to American Music", in Henry Cowell (ed.) American Composers on American Music (1933); reprinted in Gregory R. Suriano (ed.) Gershwin in His Time (New York: Gramercy, 1998) p. 97.

People, Music, Feeling

“I learned the hula, so now I know how to shake my booty Hawaiian style.”

Sanjaya Malakar (1989) American reality television personality

Asked what most people would be surprised to know about him on American Idol.

Learning

“I propose to create an heroic, monumental style of composition simple enough to inspire all people, completely free from fads, artificial mannerisms and false sophistications, direct, forceful, sincere, always original but never unnatural. Music must be freed from decadence and stagnation. There has been too much emphasis on small things while the great truths have been overlooked. The superficial must be dispensed with. Music must become virile to express big things. It is not my purpose to supply a few pseudo intellectual musicians and critics with more food for brilliant argumentation, but rather to inspire all mankind with new heroism and spiritual nobility. This may appear to be sentimental and impossible to some, but it must be remembered that Palestrina, Handel, and Beethoven would not consider it either sentimental or impossible. In fact, the worthiest creative art has been motivated consciously or unconsciously by the desire for the regeneration of mankind.”

Alan Hovhaness (1911–2000) Armenian-American composer

Alan Hovhaness, 1940 Guggenheim Application http://www.hovhaness.com/hovhaness-biography.html

People, Truth, Food, Art

“There were other Batman writers throughout the years but they could never capture the style and flavor of Bill's scripts. Bill was the best writer in the business and it seemed that he was destined to write Batman".”

Bill Finger (1914–1974) American comic strip and comic book writer

About

Business

“I seek a form that my style cannot discover,
a bud of thought that wants to be a rose.”

Rubén Darío (1867–1916) Nicaraguan poet and writer

Prosas Profanas y Otros Poemas (Profane Hymns and Other Poems). I Seek a Form (1896).

“Trump owes less to Willkie’s tradition than to Benito Mussolini’s, and not only because of the superficial: Trump’s chin-out toughness, sweeping right-hand gestures and talk of his “huge” successes and his “stupid” opponents all evoke the Italian dictator’s style. Monday’s breathtaking announcement that he would block all Muslims from entering the United States has many pointing out the obvious fascist overtones… Trump uses many of the fascist’s tools: a contempt for facts, spreading a pervasive sense of fear and overwhelming crisis, portraying his backers as victims, assigning blame to foreign or alien actors and suggesting only his powerful personality can transcend the crisis. He endorsed the violence done to a dissenter at one of his rallies, and he now floats the idea of making entry to the United States contingent on religion.”

Dana Milbank (1968) American journalist

Donald Trump, America’s modern Mussolini https://www.washingtonpost.com/opinions/donald-trump-isnt-todays-wendell-willkie-hes-todays-benito-mussolini/2015/12/08/77c81b0c-9ddc-11e5-a3c5-c77f2cc5a43c_story.html, The Washington Post. (8 December 2015)

Stupidity, Fear, Religion, Idea

“I hope and believe cultural history will make progress if it also fixes its attention firmly on the individual human being. Movements, as distinct from periods, are started by people. Some of them are abortive, others catch on. Each movement in its turn has a core of dedicated souls, a crowd of hangers-on, not to forget a lunatic fringe. There is a whole spectrum of attitudes and degrees of conversion. Even within the individual there may be various levels of conviction, various conscious and unconscious fluctuations in loyalty. What seemed acceptable during the mass rally or revivalist meeting may look pretty crazy on the way home. But movements would not be movements if they did not have their badges, their outward signs, their style of behaviour, style of speech and of dress. Who can probe the motives which prompt individuals to adopt some of these, and who would venture in every case to pronounce on the completeness of the conversion this adoption may express? Knowing these limitations, the cultural historian will be a little wary of the claims of cultural psychology.”

Ernst Gombrich (1909–2001) art historian

In Search of Cultural History (1969)

People, Hope, Way, Home

“However often we turn to it [the Qur'an] at first disgusting us each time afresh, it soon attracts, astounds, and in the end enforces our reverence… Its style, in accordance with its contents and aim is stern, grand, terrible — ever and anon truly sublime — Thus this book will go on exercising through all ages a most potent influence.”

Johann Wolfgang von Goethe (1749–1832) German writer, artist, and politician

Johann Wolfgang von Goethe, quoted in Dictionary of Islam (1895), by T.P. Hughes, p. 526

Books, Age, Exercises, Time

“Objective' analysis is a tool, primarily useful for suggesting or confirming putative relationships between different musical styles….'Critical' analysis results not in a statistical measurement of style or proof of relationship but rather, ideally, in a formal model for a relatively independent and artistically controllable style within a culture, and should then be viable for accounting for individual manifestations of that style…”

Harold Powers (1928–2007) American academic

Music

“I hope that with the help of van Van Gogh and Durand we will be able to emerge from this situation [selling nothing]. It seems to me that I deserve no less, since I have worked conscientiously. I do not believe that anyone could devote - if not more talent - more care and good will to the service of his art; it takes me hours of reflection to decide on the slightest detail. Is this impatience?... I think not! For I do not wish to make a brush stroke when I do not feel complete mastery of my subject, there's the rub - that is the great difficulty; without sensation, nothing, absolutely nothing valid... I believe I have hit my stride. I have begun a series of things which will really be in my style.”

Camille Pissarro (1830–1903) French painter

Quote of Camille Pissarro, Eragny, 26 April 1888, in a letter to his son Lucien; from Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, p. 124
Theo van Gogh was working in the Paris' art-gallery Goupil & Cie and selling Impressionist artists
1880's

Hope, Art, Feeling, Thinking

“There's a man who came to stay
The boy he replaced, disappeared without a trace.
Stole all my songs and my style away
No-one would say what they wanted to say
So he was king for a day.
If you sail into the sun
Beware the eyes of green
And if the whole world tells you 'you are the one'
I defy you not to believe them, my son…”

Pete Doherty (1979) English musician, writer, actor, poet and artist

"The Man Who Came to Stay"
Lyrics and poetry

World, Boy, Sun

“Shed the idea that you were programming in an OO style. There is no such thing. You were only programming a particular object system. Now you get to program a different object system.”

Erik Naggum (1965–2009) Norwegian computer programmer

Re: How much use of CLOS? http://groups.google.com/group/comp.lang.lisp/msg/60f4c36a707db3fe (Usenet article). Usenet articles, Miscellaneous

Idea

“.. whatever may have been the style and title, the sovereign ruler was there, and accordingly the court established itself at once with all its due accompaniments of pomp, insipidity, and emptiness. Caesar appeared in public not in the robe of the consuls which was bordered with purple stripes, but in the robe wholly of purple which was reckoned in antiquity as the proper regal attire, and received, sitting on his golden chair and without rising from it, the solemn procession of the senate. The festivals in his honour commemorative of birthday, of victories, and of vows, filled the calendar. When Caesar came to the capital, his principal servants marched forth in trips to great distances so as to meet and escort him. To be near to him began to be of such importance, that the rents rose in the quarter of the city where he lived. Personal interviews with him were rendered so difficult by the multitude of individuals soliciting audience, that Caesar found himself compelled in many cases to communicate even with his intimate friends in writing, and that persons even of the highest rank had to wait for hours in the ante-chamber. People felt, more clearly than was agreeable to Caesar himself, that they no longer approached a fellow-citizen. There arose a monarchical aristocracy, which was a remarkable manner at once new and old, and which had sprung out of the idea of casting into the shade the aristocracy of the oligarchy by that of the royalty, the nobility of the patriciate. The patrician body still subsisted, although without essential privileges as an order, in the character of a close aristocratic guild; but as it could receive no new gentes it had dwindled away more and more in the course of centuries, and in Caesar's time there were not more than fifteen or sixteen patrician gentes still in existence. Caesar, himself sprung from one of them, got the right of creating new patrician gentes conferred on the Imperator by decree of the people, and so established, in contrast to the republican nobility, the new aristocracy of the patriciate, which most happily combined all the requisites of a monarchichal aristocracy - the charm of antiquity, entire dependence on the government, and total insignificance. On all sides the new sovereignty revealed itself.”

Theodor Mommsen (1817–1903) German classical scholar, historian, jurist, journalist, politician, archaeologist and writer

Vol. 4, Part 2. Translated by W.P. Dickson.
The New Court.
The History of Rome - Volume 4: Part 2

People, Communication, Idea, Birthday

“A chaste and lucid style is indicative of the same personal traits in the author.”

Hosea Ballou (1771–1852) American Universalist minister (1771–1852)

Manuscript, Sermons; reported in Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 758.

Personality

“All those whom for style is not a game but a labor.”

Joseph Joubert (1754–1824) French moralist and essayist

Game

“Here's a movie that stretches out every moment for more than it's worth, until even the moments of inspiration seem forced. Since the basic idea of the movie is a good one and there are talented people in the cast, what we have here is a film shot down by its own forced and mannered style.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/raising-arizona-1987 of Raising Arizona (20 March 1987) Reviews, One-and-a-half star reviews

People, Idea

“Many fields use patterns in various ways: In music and literature, a pattern is the coherent structure or design of a song or book. In art, a pattern is the composition or plan of a work of graphic or plastic art. In architecture, a pattern is an architectural design or style. In psychology, a pattern is a thinking mechanism that is basic to the brain's operation, helping one to perceive things quickly. In archeology, a pattern is a group of phases having several distinguishing and fundamental features in common. In linguistics, a pattern is the manner in which smaller units of language are grouped into larger units…”

Peter Coad (1953) American software entrepreneur

Source: Object-oriented patterns. (1992), p. 152

Books, Art, Music, Way

“Freed from the sublimated form which was the very token of its irreconcilable dreams—a form which is the style, the language in which the story is told—sexuality turns into a vehicle for the bestsellers of oppression. … This society turns everything it touches into a potential source of progress and of exploitation, of drudgery and satisfaction, of freedom and of oppression. Sexuality is no exception.”

Herbert Marcuse book One-Dimensional Man

Source: One-Dimensional Man (1964), pp. 77-78

Dreams, Freedom

“My own proposals for reform [in academia] include the abolition of all literary conferences and the replacement of women's studies with sex studies, based on the rigorous study of world history, anthropology, psychology, and science. Today, in politically correct America, questions of quality, learning, and intellectual distinction are out of style.”

Camille Paglia (1947) American writer

Source: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 102

Women, World, Sex, History

“I never touched Cubism myself, you know, although I was attracted by it one time. When I was painting at Céret and at Cagnes [1919, and from 1923]. I yielded to its influence in spite of myself, and the results were not entirely banal. But then... Céret itself is anything but banal. There is so much foreshortening in the landscape that, for that very reason, a picture may seem to have been painted in some specific style”

Chaim Soutine (1893–1943) painter

quote in 1927
Source: Life with the painters of La Ruche, Vorobëv Marevna, Macmillan, New York, 1972, p. 156

Quotes, Time, Painting

“To give here an elaborate account of Pappus would be to create a false impression. His work is only the last convulsive effort of Greek geometry which was now nearly dead and was never effectually revived. It is not so with Ptolemy or Diophantus. The trigonometry of the former is the foundation of a new study which was handed on to other nations indeed but which has thenceforth a continuous history of progress. Diophantus also represents the outbreak of a movement which probably was not Greek in its origin, and which the Greek genius long resisted, but which was especially adapted to the tastes of the people who, after the extinction of Greek schools, received their heritage and kept their memory green. But no Indian or Arab ever studied Pappus or cared in the least for his style or his matter. When geometry came once more up to his level, the invention of analytical methods gave it a sudden push which sent it far beyond him and he was out of date at the very moment when he seemed to be taking a new lease of life.”

James Gow (scholar) (1854–1923) scholar

p, 125
A Short History of Greek Mathematics (1884)

Life, People, School, History

“The supreme style of love is unknown love. If the affection is known by the beloved, that love is snob. If you sacrifice your life for the beloved, and she recognises your love after you die, your soul would be appraised.”

Tsunetomo Yamamoto book Hagakure

Hagakure (c. 1716)

Love, Life, Soul

“The notion of style has long been the art historian's principal mode of classifying works of art. By style he selects and shapes the history of art.”

George Kubler (1912–1996) American art historian

George Kubler summarizing the view of Meyer Schapiro (with whom he disagrees), quoted by Alpers in Lang, Berel (ed.), The Concept of Style, 1987, Ithaca: Cornell University Press, ISBN 0801494397

Art, History

“An oratorical style often has the same drawbacks as those operas in which the music prevents you from hearing the words. Here the words prevent you from seeing the thoughts.”

Joseph Joubert (1754–1824) French moralist and essayist

Music

“Evan after I had replaced my civil-libertarian posture with the rigors of Marxism-Leninism, Chinese style, Clark’s [Foreman] advice about the necessity of maintaining individual freedoms stuck in my mind and often forced me into open conflict with Progressive Labor. In many ways it was the need for independence, which Clark helped to instill in me, that led to my eventual break with Communism.”

Phillip Abbott Luce (1935–1998)

Source: The New Left: The Resurgence of Radicalism Among American Students (1966), p. 29

Way, Communication, Freedom, Help

“So we're led by denial like lambs to the slaughter
Serving empires of style and carbonated sugar water
And the old farm road's a four-lane that leads to the mall
And our dreams are all guillotines waiting to fall.”

Ani DiFranco (1970) musician and activist

Subdivision
Song lyrics

Dreams, Water, Waiting

“Some of the Etudes in the first set, opus 10, were written by the time Chopin was twenty. It is with these pieces that Chopin's style was fully revealed in all its power and subtlety. Later works are sometimes more ambitious and, in a few cases, more audacious, but there were no radical changes of style, nothing to compare to the later revolutions we find in the careers of Haydn and Beethoven, or even in the shorter lives of Mozart and Schubert. Chopin's mastery was proven with the twelve Etudes of opus 10.”

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

Source: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed

Change, Time

“Wilson was not, in the academic sense, a scholar or historian. He was an enormous reader, one of those readers who are perpetually on the scent from book to book. He was the old-style man of letters, but galvanized and with the iron of purpose in him.”

V.S. Pritchett (1900–1997) British writer and critic

V. S. Pritchett, The Tale Bearers: English and American Writers (1980) [Random House, ISBN 0-394-74683-X], "Edmund Wilson: Towards Revolution," p. 141
The Tale Bearers: English and American Writers (1980)

Books, Sense

“The grand style arises in poetry, when a noble nature, poetically gifted, treats with simplicity or with severity a serious subject.”

Matthew Arnold On Translating Homer

On Translating Homer (1861)

Nature

“I feel better now than I did at any time last season; the shoulder really hurt me bad last year. The left shoulder still gives me some trouble. It makes me swing differently. I have to adjust. Sometimes I find I'm over-cutting the ball. That is not my natural style. I used to swing and I just knew I could hit the ball hard. I knew when I could hit to right field, when I could pull. Now it's different. I have to force myself more than I ever did. Maybe it's because I'm getting old. Maybe.”

Roberto Clemente (1934–1972) Puerto Rican baseball player

Discussing two separate pre-season shoulder injuries, sustained, respectively, in February 1968 to the right shoulder, and in March 1969 to the left; as quoted in "A Sounder Clemente Has New Outlook; Buc Super Star May Play On and On" https://news.google.com/newspapers?id=JFAOAAAAIBAJ&sjid=4H0DAAAAIBAJ&pg=7168,1534716 by Charley Feeney, in The Pittsburgh Post-Gazette (Tuesday, August 12, 1969), p. 18 Baseball-related, <big><big>1960s</big></big>, <big>1969</big>

Feeling, Nature, Time, Hurt

“We consider it a great crime to work against the Western and Christian style of life: it is not just the bomber but the ideologist who is the danger.”

Jorge Rafael Videla (1925–2013) Argentinian President

As quoted in Christopher Hitchens (2010), Hitch-22: A Memoir, (Atlantic Books).

Life

“.. I want a lovely life; in order for it to be, harmony and style are necessary. I avow mine to the key of aesthetic sentiment – the constant permanent creation everywhere and in every one. All is false there, all is true. The truth is the desire to see falsely. I do not want the naked truth; it is the principle of my life. It is that which makes my life one which is artistic and complete. Feelings, events, people and things, such as they are, are nothing to me. I wish them invented, illusory, false in so far as true life and in so far as art.”

Marianne von Werefkin (1860–1938) expressionist painter

Vol. 1: 'My beautiful One, My Unique!', pp. 130-140
1895 - 1905, Lettres à un Inconnu, 1901 – 1905; Museo Communale, Ascona

Love, Life, People, Truth

“Ernest Bramah's China, then, is the fantastic bogus China of convention, not the real historical thing at all. He wrote of it in a prose so perfectly conceived that it becomes a miracle of style. As Hilaire Belloc once observed, the sly humor and philosophy of Bramah's stories is a trick he achieves by pretending to adapt the flavor of Chinese literary conventions into the English. But the thing I love most about the tales is their irony and the brilliance of their wit.”

Ernest Bramah (1868–1942) English author

Lin Carter Discoveries in Fantasy (London, 1974) pp. 5-6.
Criticism

Love

“The embodiment of the unconscious of a woman as a figure of the opposite sex, the animus, also has positive and negative features. The animus, however, does not express itself so often in women as an erotic fantasy or mood, but rather as "sacred" convictions. When these latter are expressed loudly and energetically in a masculine style, this masculine side of a woman is easily recognizable. However, it can also manifest in a woman who appears very feminine externally as a quiet but relentless power that is hard as iron. Suddenly one comes up against something in her that is cold, stubborn, and completely inaccessible.”

Marie-Louise von Franz (1915–1998) Swiss psychologist and scholar

Archetypal Dimensions of the Psyche (1994), The Animus, a Woman's Inner Man

Women, Sex, Mood, Appearance

“Style is but the faintly contemptible vessel in which the bitter liquid is recommended to the world.”

Thornton Wilder book The Bridge of San Luis Rey

The Bridge of San Luis Rey (1927)

World

“The hallmark of the minor artist is to be obsessed with style as an end in itself.”

Robert Hughes (1938–2012) Australian critic, historian, writer

"Alex Katz" (1986)
Nothing If Not Critical (1991)

“The creation of a classical style was not so much the achievement of an ideal as the reconciliation of conflicting ideals-the striking of an optimum balance between them.”

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

Part I. Introduction. 3. The Origins of the Style
Classical Style: Haydn, Mozart, Beethoven (Expanded edition, 1997)

“.. no true artist ends with the style that he expected to have when he began,... it is only by giving oneself up completely to the painting medium that one finds oneself and one's own style.”

Robert Motherwell (1915–1991) American artist

The School of New York, exhibition catalogue, Perls Gallery, 1951; as quoted in the New York School – the painters & sculptors of the fifties, Irving Sandler, Harper & Row Publishers, 1978, p. 46
1950s

Painting

“Are you gonna follow your soul? Or just the style of the day?”

Dan Bern (1965) American musician

Soul
(2003)

Soul

“One day it was lies, lies, lies, real old-school Saigon-style lies about how everything's fine…and then wham, we take Mazar-i-Sharif and it's a toboggan ride to Kabul.”

John Dolan (1955) American journalist

Gary Brecher at exile.ru/authors, 2002

School

“We have a two-tier class system when it comes to personality style. To devalue introversion is a waste of talent, energy and happiness.”

Susan Cain (1968) self-help writer

Bielski, Zosia (interviewer), "Giving introverts permission to be themselves," The Globe and Mail, January 26, 2012.

Personality, Happiness

“The more successfully we learn and practice the gospel of plasticity, the less suitable we become as subjects of the necessitarian styles of social and historical analysis that the great social theorists have taught us. We can, in fact, raise a storm in the world and still understand and explain ourselves. All we need is a better approach.”

Roberto Mangabeira Unger (1947) Brazilian philosopher and politician

Source: Plasticity Into Power: Comparative-Historical Studies on the Institutional Conditions of Economic and Military Success (1987), p. 2

World, Understanding, Learning

“The higher up you go, the more mistakes you are allowed. Right at the top, if you make enough of them, it's considered to be your style”

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

Sometimes misattributed to Astaire. In fact, it's just a scripted line (written by Blake Edwards and Larry Gelbart) from The Notorious Landlady. Astaire delivers the line to Jack Lemmon.
Misattributed

“In modern American style, his job, not his past, defined him.”

Wilfrid Sheed (1930–2011) English-American novelist and essayist

"The Wit of George S. Kaufman and Dorothy Parker," p. 162
The Good Word & Other Words (1978)

Past

“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

“He is the first of our writers whose style is cloathed with that perspicuity, in which the English phraseology appears at this day to an English reader…Whether his subject be the life of a hermit or a hero, of saint Austin or Guy earl of Warwick, ludicrous or legendary, religious or romantic, a history or an allegory, he writes with facility.”

John Lydgate (1370–1450) monk and poet

Thomas Warton The History of English Poetry (1774-81) vol. 2, pp. 52-3.
Criticism

Life, Guy, History, Appearance

“I believe that any form of writing exercise is good for you. I also believe that any form of tuition which helps develop your awareness of the different properties, styles, and effects of writing is good for you. It helps you become a better reader, more sensitive to nuance, and a better writer, more sensitive to audience. Texting language is no different from other innovative forms of written expression that have emerged in the past. It is a type of language whose communicative strengths and weaknesses need to be appreciated.”

David Crystal (1941) British linguist and writer

David Crystal, Txtng: The Gr8 Db8, OUP Oxford, 2009. p. 128

Exercises, Communication, Past, Help

“The flattering, if arbitrary, label, First Lady of the Theatre, takes its toll. The demands are great, not only in energy but eventually in dramatic focus. It is difficult, if not impossible, for a star to occupy an inch of space without bursting seams, cramping everyone else’s style and unbalancing a play. No matter how self-effacing a famous player may be, he makes an entrance as a casual neighbor and the audience interest shifts to the house next door.”

Helen Hayes (1900–1993) actress

Source: On Reflection (1968), Ch. 4

Star, Housing

“He has a clear style and has had much courage – as in his poem "Babi Yar", a memorial to the Jews murdered by the Nazis. But he is no more than a talented poetaster – which is quite obvious to all but Western journalists – and it would be foolish to consider him as more than a skilful publicist.”

Yevgeny Yevtushenko (1932–2017) Russian poet, film director, teacher

Martin Seymour-Smith, Guide to Modern World Literature (London: Hodder and Stoughton, 1975) vol. 4, pp. 240-1.
Criticism

Courage, Memory, Baby

“Any attempt to break with the past, or with existing social structures, is a failure if it leads to a bored, listless, and colourless style of life; assertive and enduring innovation, like the mastering of a new environment, requires the confidence and discipline which are founded on exuberant emotions.”

John Carroll (1944) Australian professor and author

Source: Break-Out from the Crystal Palace (1974), pp. 95-96, note

Life, Confidence, Failure, Past

“But the most remarkable thing about prehistoric naturalism is not that it is older than the geometric style, which makes so much more of a primitive impression, but that it already reveals all the typical phases of development through which art has passed in modern times and is not in any sense the merely instinctive, static, a-historical phenomenon which scholars obsessed with geometric and rigorously formal art declare it to be. This is an art which advances from a linear faithfulness to nature, in which individual forms are still shaped somewhat rigidly and laboriously, to a more nimble and sparkling, almost impressionistic technique.”

Arnold Hauser (1892–1978) Hungarian art historian

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

Faith, Art, Nature, Sense

“I always say—a prejudice on my part, I'm sure—you can tell a lot about a person's character from his choice of sofa. Sofas constitute a realm inviolate unto themselves. This, however, is something that only those who have grown up sitting on good sofas will appreciate. It's like growing up reading good books or listening to good music. One good sofa breeds another good sofa; one bad sofa breeds another bad sofa. That's how it goes. There are people who drive luxury cars, but have only second- or third-rate sofas in their homes. I put little trust in such people. An expensive automobile may well be worth its price, but it's only an expensive automobile. If you have the money, you can buy it, anyone can buy it. Procuring a good sofa, on the other hand, requires style and experience and philosophy. It takes money, yes, but you also need a vision of the superior sofa. That sofa among sofas.”

Haruki Murakami book Hard-Boiled Wonderland and the End of the World

Source: Hard-Boiled Wonderland and the End of the World (1985), Chapter Five: Tabulations, Evolution, Sex Drive

Money, People, Books, Music

“[It] would have been all the easier [if] the entire story of the scar had been presented as a recollection which awakens in Odysseus’ mind at this particular moment. It would have been perfectly easy to do; the story of the scar had only to be inserted two verses earlier, at the first mention of the word scar, where the motifs “Odysseus” and “recollection” were already at hand. But any such subjectivistic‐perspectivistic procedure, creating a foreground and background, resulting in the present lying open to the depths of the past, is entirely foreign to the Homeric style; the Homeric style knows only a foreground, only a uniformly illuminated, uniformly objective present.”

Erich Auerbach Mimesis: The Representation of Reality in Western Literature

Source: Mimesis: The Representation of Reality in Western Literature (1946), p. 7

Lying, Past

“We’re introducing an updated Assault Weapons Ban for one reason: so that after every mass shooting with a military-style assault weapon, the American people will know that a tool to reduce these massacres is sitting in the Senate, ready for debate and a vote. This bill won’t stop every mass shooting, but it will begin removing these weapons of war from our streets. The first Assault Weapons Ban was just starting to show an effect when the NRA stymied its reauthorization in 2004. Yes, it will be a long process to reduce the massive supply of these assault weapons in our country, but we’ve got to start somewhere. To those who say now isn’t the time, they’re right—we should have extended the original ban 13 years ago, before hundreds more Americans were murdered with these weapons of war. To my colleagues in Congress, I say do your job.”

Dianne Feinstein (1933) American politician

[Senators Introduce Assault Weapons Ban, November 8, 2017, w:Diane Feinstein, Diane, Feinstein, https://www.feinstein.senate.gov/public/index.cfm/2017/11/senators-introduce-assault-weapons-ban]
On the introduction of the Assault Weapons Ban of 2017

War, People, Time, Country

“The personality market, the most decisive effect and symptom of the great salesroom, underlies the all pervasive distrust and self-alienation so characteristic of metropolitan people. Without common values and mutual trust, the cash nexus that links one man to another in transient contact has been made subtle in a dozen ways, and made to bite deeper into all areas of life and relations. People are required by the salesman ethic and convention to pretend interest in others in order to manipulate them. In the course of time, and as this ethic spreads, it is got on to. Still, it is conformed to as part of one; s job and one's style of life, but now with a winking eye, for one knows that manipulation is inherent in every human contact. Men are estranged from one another as each secretly tries to make an instrument of the other, and in time a full circle is made: one makes an instrument of himself and is estranged from it also.”

C. Wright Mills book White Collar: The American Middle Classes

White Collar: The American Middle Classes (1951)

Life, Men, People, Way

“Style…is a peculiar recasting and heightening, under a certain condition of spiritual excitement, of what a man has to say, in such a manner as to add dignity and distinction to it.”

Matthew Arnold (1822–1888) English poet and cultural critic who worked as an inspector of schools

" On the Study of Celtic Literature http://www.sacred-texts.com/neu/celt/scl/index.htm" (1867), Pt. 6

“…a [literary] style can be a whole way of existing, so that you exist, for the moment, in perfect sympathy with it: you don’t read it so much as listen to it as it sweeps you along—fast enough, often, to make you feel a blurred pleasure in your own speed. Often a phrase or sentence has the uncaring unconscious authority—how else could you say it?—that only a real style has.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“An Unread Book”, p. 36
The Third Book of Criticism (1969)

Pleasure, Way, Feeling, Reading

“If one looks back at the short period of time of the Badoglio government, one must remember that the Italian longing and need for peace was no secret to the German command. Since the German retreat at el Alamein in November 1942 and the collapse of the Italian Army on the eastern front, the Italians had repeatedly stated their weariness of battle and had made certain suggestions. In steadily increasing numbers, measures were being taken by the German military command out of fear for the Axis loyalty of Italy. As the course of events showed, the view on betrayal dominated all other German reflections, nourished by the fall of Mussolini and his style of leadership.”

Walter Warlimont (1894–1976) German general

Quoted in "Forgotten Battles: Italy's War of Liberation, 1943-1945" - Page 50 - by Charles T. O'Reilly - History - 2001

Secret, Fear, Peace, Betrayal

“Besides the want of arrangement in the original [work of Marcus Aurelius] and of connection among the numerous paragraphs, the corruption of the text, the obscurity of the language and the style, and sometimes perhaps the confusion in the writer's own ideas - besides all this there is occasionally an apparent contradiction in the emperor's thoughts, as if his principles were sometimes unsettled, as if doubt sometimes clouded his mind.”

George Long (1800–1879) English classical scholar

The Philosophy of Antoninus

Idea

“In composing, as a general rule, run your pen through every other word you have written; you have no idea what vigour it will give your style.”

Sydney Smith (1771–1845) English writer and clergyman

Vol. I, ch. 11 http://books.google.com/books?id=R18JAAAAQAAJ&q=%22In+composing+as+a+general+rule+run+your+pen+through+every+other+word+you+have+written+you+have+no+idea+what+vigour+it+will+give+your+style%22&pg=PA382#v=onepage Lady Holland's Memoir (1855)

Idea

“…even more ominous … is the fact that since the Second World War a new kind of intellectual has emerged in large numbers. … he is only minimally interested in the proper intellectual significance of images and objects. Such people are not really intellectuals, but visuals … A visual is more interested in style than in content … A visual does not feel a rioting crowd being machine-gunned by the police, he simply sees a brilliant news photograph.”

John Fowles book The Aristos

The Aristos (1964)

War, People, World, Feeling

“I'm the best ever. I'm the most brutal and vicious, and most ruthless champion there's ever been. There's no one can stop me. Lennox is a conqueror? No, I'm Alexander, he's no Alexander. I'm the best ever! There's never been anybody as ruthless! I'm Sonny Liston, I'm Jack Dempsey. There's no one like me. I'm from their cloth. There's no one that can match me. My style is impetuous, my defense is impregnable, and I'm just ferocious. I want your heart! I want to eat his children! Praise be to Allah!”

Mike Tyson (1966) American boxer

Interview with Jim Gray http://www.youtube.com/watch?v=M4l0ZyKmeNE (2000). On Lennox Lewis

Children, Heart, Clothes

“In training Biu Jee we are taught to be free. The first forms tell us about normal situations. Biu Jee is for the abnormal situations. The ideas in Biu Jee sometimes will contradict normal Ving Tsun (Wing Chun) ideas in order to allow the person to survive in a bad situation. We are told to do what is necessary to survive and so there are no limitations. Styles have different concepts and objectives. With Ving Tsun (Wing Chun) we want to attack our opponent in a very direct and savage manner. Other styles will contradict this objective by attempting non-direct tactics. If we combine them our objectives can become confused in the heat of the fight. We will be less effective.”

Wong Shun Leung (1935–1997) martial artist

Wong Shun Leung's Answer on the Question of "Do you feel that Ving Tsun (Wing Chun) has any limitations ? Many students like to combine boxing with kicking , throwing and grappling on the ground to develop eclectic systems." Mixed Martial Arts Source: Interview with Wong Shun Leung, by: Rusper Patel http://www.gongsauwong.com/interview.php

Idea, Fight, Personality, Training

“The Extras were as clean as they'd ever been in their lives, and their hair - and beards in the case of the older ones - had been laboriously trimmed, in styles that amusingly parodied the latest fashions. Gray had almost gone so far as to have them clothed - but after much experimentation he'd decided against it; even the slightest scrap of clothing made them look too human, and he was acutely aware of the boundary between impressing his guests with his daring, and causing them real discomfort. Of course, naked, the Extras looked exactly like naked humans, but in Gray's cultural milieu, stark naked humans en masse were not a common sight, and so the paradoxical effect of revealing the creatures' totally human appearance was to make it easier to think of them as less than human.”

Greg Egan (1961) Australian science fiction writer and former computer programmer

The Extra http://eidolon.net/?story=The%20Extra, published in Eidolon (Winter 1990) Fiction

Fashion, Thinking, Appearance, Clothes

“We do not exactly know the sociological reason for reverence for the past; it may be rooted in tribal and family solidarity or in the endeavour of the privileged classes to base their privileges on heredity. However that may be, the feeling that what is old must be better is still so strong that art historians and archaeologists do not shrink even from historical falsification when attempting to prove that the style of art which appeals to them most is also the oldest.”

Arnold Hauser (1892–1978) Hungarian art historian

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

Family, Art, Feeling, Strong

“We think of beauty as being most worthy of reverence. But what is most worthy of reverence lights up only where the magnificent strength to revere is alive. To revere is not a thing for the petty and lowly, the incapacitated and underdeveloped. It is a matter of tremendous passion; only what flows from such passion is in the grand style.”

Martin Heidegger (1889–1976) German philosopher

Source: Nietzsche (1961), p. 125

Beauty, Thinking, Light, Passion

“Morphy's principal strength does not rest upon his power of combination but in his position play and his general style…. Beginning with la Bourdonnais to the present, and including Lasker, we find that the greatest stylist has been Morphy. Whence the reason, although it might not be the only one, why he is generally considered the greatest of all.”

José Raúl Capablanca (1888–1942) Cuban chess player

In Pablo Morphy by V. F. Coria and L. Palau.

“My book is written, as befits such easy material, in merciless telegram style ("Axiom," "Definition," "Theorem," "Proof," occasionally "Preliminary Remark")… I hope I have written this book in such a way that a normal student can read it in two days. And then (since he already knows the formal rules from school) he may forget its contents.”

Edmund Landau (1877–1938) German Jewish mathematician

Grundlagen der Analysis [Foundations of Analysis] (1930) Preface for the Teacher, as quoted by Eli Maor, Trigonometric Delights (2013)

Books, School, Hope, Way

“Four years ago almost all of the applauded and selling art was New York School painting. It was preponderant in most galleries, which were uninclined to show anything new. The publications which praised it praised it indiscriminately and were uninterested in new developments. Much of the painting was by the "second generation" many of them epigones. Pollock was dead. Kline and Brooks had painted their last good paintings in 1956 and 1957. Guston's paintings had become soft and gray — his best ones are those around 1954 and 1955. Motherwell's and De Kooning's paintings were somewhat vague. None of these artists were criticized. In 1959 Newman's work was all right, and Rothko's was even better than before. Presumably, though none were shown in New York, Clyfford Still's paintings were all right. This lackadaisical situation was thought perfect. The lesser lights and some of their admirers were incongruously dogmatic : this painting was not only doing well but was the only art for the time. They thought it was a style. By now, it is.”

Donald Judd (1928–1994) artist

Donald Judd, in: Arts Yearbook. (1964) p. 23
1960s

School, Art, Light, Time

“As for a few others, the vital task was a wedding of abstraction and surrealism. Out of these opposites something new could emerge, and Gorky’s work is a part of the evidence that this is true. What he felt, I suppose, was a sense of polarity, not of dichotomy; that opposites could exist simultaneously within a body, within a painting or within an entire art... These are the opposites poles in his work. Logic and irrationality; violence and gentleness; happiness and sadness, surrealism and abstraction. Out of these elements I think Gorky evolved his style.”

Adolph Gottlieb (1903–1974) American artist

Arshile Gorky Adolph Gottlieb in exhibition catalogue Kootz Gallery New York, 1950; as quoted in Abstract Painting in America, W.C, Seitz p. 104.
1950s

Sadness, Art, Thinking, Sense

“[Addressed to Berlusconi who wanted to impose himself on the editorial style of "Il Giornale"] In the art of entrepeneurship, you are certainly a genius, and I an asshole. But in the art of argument the genius is me, and you the asshole.”

Indro Montanelli (1909–2001) Italian journalist

cited in Marco Travaglio, Montanelli e il Cavaliere: storia di un grande e di un piccolo uomo.
2000s - 2010s

Art

“In the winter of 2008, Jenifer and I visited Chennai Mathematical Institute. This remarkable Institute is the creation of Seshadri. It is a unique blend of an American style liberal arts college with traditional Indian guru one-on-one teaching, adding physics, computer science, history and music to its maths curriculum. Only in India could an intellectual with no business or management experience, who spends all his spare time singing classical south Indian music, have been the catalyst for such a unique educational experiment.”

David Mumford (1937) American mathematician

[David Mumford, Passages to India, Mathematics Intelligencer, 2010, Hyderabad edition, 51-55, http://www.dam.brown.edu/people/mumford/beyond/papers/2010c--PassagesIndia-journal.pdf]

Education, Art, Music, History