Quotes of All Topics . Occasions . Authors
Man is alone everywhere. But the solitude of the Mexican, under the great stone night of the high plateau that is still inhabited by insatiable gods, is very different from that of the North American, who wanders in an abstract world of machines, fellow citizens and moral precepts.
There's an interesting contrast between born Catholics and converts. Converts are often much more rule-directed. Catholicism isn't something that they breathed in from their childhood, so they think that if you don't toe the line on abstract doctrine you can't be part of the Church.
I quite like the idea - just as an abstract idea - of 12 people's collective life experience and wisdom being this formidable thing. People say juries can be led - I think 12 people from different backgrounds, different races, different genders, different ages, it's hard to hoodwink.
Abstract sympathy with the working class as an economic entity is easy, but the feeling can vanish on contact with actual members of the group, who often arrive with disturbing beliefs and powerful resentments - who might not sound or look like people urban progressives want to know.
The Supreme Court has crafted doctrines such as 'fair use,' which permits copying materials for criticism, parody, and transformative uses, and has ruled that abstract ideas are not subject to copyright, because courts will not punish people for merely using an abstract concept in speech.
With the Larry Bertlemann portrait, I started with a photograph that I could use for it. I built the drawing's identity to serve as a graphic identity. After a number of sketches, I went into my own abstract vernacular of drawn lines and shapes to create the composition for the poster design.
Across a range of inferences involving not just language but mathematics, logic problems, and spatial reasoning, sleep has been shown to enhance the formation and understanding of abstract relations, so much so that people often wake having solved a problem that was unsolvable the night before.
The narrative oftentimes is that everything that comes out of the hood is 'real,' and so I thought, 'I'll base it on the absurd, the not real. I'll twist the idea of real on its head and see if I can get away with it. I'll make paintings that come not from a place but through an abstract gaze.'
I don't care if Margot is a Dame of the British Empire or older than myself. For me she represents eternal youth; there is an absolute musical quality in her beautiful body and phrasing. Because we are sincere and gifted, an intense abstract love is born between us every time we dance together.
I have this very abstract idea in my head. I wouldn't even want to call it stand-up, because stand-up conjures in one's mind a comedian with a microphone standing onstage under a spotlight telling jokes to an audience. The direction I'm going in is eventually, you won't know if it's a joke or not.
I had never thought that I would be involved in narrative structures. As a young guy, I was more interested in abstract modeling. But as I got older, I began to see that there was no reason to limit myself to any intellectual or conceptual postulate, when in fact I'm a professional student of music.
The way I paint is similar to rock in that you don't stand around and say, 'Gee, what are they talking about?' Rock is simple, blunt, colorful. Same with my paintings. You don't stand back and wonder what it is. That's Jim Morrison, that's a panda, that's a scene on the West Coast. It's not abstract.
Many billboards and magazine ads have resorted to showing isolated body parts rather than full-body portraits of models using or wearing products. This style of photography, known in the industry as abstract representation, allows the viewer to see himself in the advertisement, rather than the model.
'Woman on the Plaza,' with its distinct horizon, snow-like surfaces, wintry wall, stunning sunlight, sharp shadows, and hurrying figure, would become the most biographical of my photographs - an abstract image of the landscape and life of northern Ohio where I grew up and first practiced photography.
The violent quarrel between the abstractionists and the surrealists seems to me quite unnecessary. All good art has contained both abstract and surrealist elements, just as it has contained both classical and romantic elements - order and surprise, intellect and imagination, conscious and unconscious.
American government did not originate in any abstract theories about liberty and equality, but in the actual experience gained by generation after generation of English colonists in managing their own political affairs. The Revolution did not make a breach in the continuity of their institutional life.
I think what I was unconsciously expressing in 'Black Rainbow' was a very abstract and metaphorical grief, in the way I had suppressed my grief about my mother dying. In retrospect I realise I started writing 'Mandy' as a sort of antidote to that, to sort of express those emotions, to purge that grief.
I grew up in a suburb of Baltimore with an extremely high concentration of Jewish families - where the Levys and Cohens in the high school yearbook went on for pages, where I could count far more temples than I ever could churches. Anti-Semitism, in our cultural biodome, was mostly an abstract concept.
I'm a creature of adaptation. I take advantage of the second and the moment. My comedy breathes; it's not really that predictable. I do have a linear style, but other than that, there's a lot of abstract. I just go off on what I'm thinking. I'm not that topical. I like to talk about me and my experiences.
I don't know why you'd want to say your work comes from nature, because art is related to perception, not nature. All abstract artists try to tell you that what they do comes from nature, and I'm always trying to tell you that what I do is completely abstract. We're both saying something we want to be true.
Although the theory of relativity makes the greatest of demands on the ability for abstract thought, still it fulfills the traditional requirements of science insofar as it permits a division of the world into subject and object (observer and observed) and, hence, a clear formulation of the law of causality.
I realized that acting is not all about receiving people's applause or cheer. It is about delivering the right character to the audience and feeling satisfied in who you become on stage. Therefore, I try to focus more on the abstract qualities of acting, and I hope to become a better actress throughout time.
Arab civilizations had been of an abstract nature, moral and intellectual rather than applied; and their lack of public spirit made their excellent private qualities futile. They were fortunate in their epoch: Europe had fallen barbarous; and the memory of Greek and Latin learning was fading from men's minds.
I don't want any of my records to sound like one style throughout. That's why I choose different grooves and songs: tunes that are sensitive and slow as well as pieces that are abstract and fast. The approach I want to take with my records is to give the listener a variety of grooves, concepts, and composers.
I was literally told for 'The Show Goes On' that I shouldn't rap too deep. I shouldn't be too lyrical. It just needs to be something easy on the eyes. Like a record company telling Picasso that we don't need these abstract interpretations of life, where people have to sit down and look at it and break it down.
I took physics, and lo and behold, there's a lot of physics in 'Lost.' I think for most people, liberal arts educations are more abstract, but for me, it's been a chance to apply the things I've learned more directly. I also took some Folklore and Mythology classes, and I think that a lot of that influenced me.
The reason I keep talking about a wife and saying the word 'wife' on stage is because it seems a funny word to me. The more you say it, the more it seems to detach from that person and become this sort of abstract thing: that you would set out to find a wife, that it would be an objective like buying a new car.
Not all paintings are abstract; they're not all Jackson Pollock. There's value in a photograph of a man alone on a boat at sea, and there is value in painting of a man alone on a boat at sea. In the painting, the painting has more freedom to express an idea, more latitude in being able to elicit certain emotion.
I think about the structure, sure. I think about what's going to happen, and how it's going to happen, and the pace. But I think if I stop to think about it in an abstract sense, I feel very daunted. I just try to enter into the story and feel my way through it. It's a very murky, intuitive way of going about it.
I sometimes wish I had been educated a Catholic, in order to unite the poetry of religion with its higher principles. Are they necessarily inseparable? Is man really so much of a philosopher, that he can conceive of truth in its abstract purity, and divest life and the affections of all the aids of the imagination?
It is dangerous when you start calling people from one part of the world terrorists or fanatic, and you reduce them to some abstract notion. If evil has a geographical place, and if the evil has a name, that is the beginning of fascism. Real life is not this way. You have fanatics and narrow-minded people everywhere.
Can you design a Rorschach test that's going to make everyone feel something every time - and that looks like a Rorschach test? It's easy to show a picture of a kitten or a car accident. The question is, how abstract can you get and still get the audience to feel something when they don't know what's happening to them?
I'm not a person who writes really abstract things with oblique references. I look at abstraction like I look at condiments. Give me some Tabasco sauce, some ketchup, some mayonnaise. I love all of that. Put it on a trumpet. I've just got to have the ketchup and Tabasco sauce. That's my attitude about musical philosophy.
If Abstract Expression reached for the sublime, Pop turned ordinary imagery into icons. Roy Lichtenstein and Andy Warhol illuminated the transformative power of context and the process of reproduction. Claes Oldenburg's soft ice-cream cones and hamburgers changed sculpture from hard to soft, from stasis to transformation.
Are we, as humans, gaining any insight on how to talk about ourselves and how something as abstract as a Charlie Parker record gets us into a dialogue about our emotions and our thoughts? Sometimes we lose sight that the music has a wider context. So I want to continue those dialogues. Those are the things I want to foster.
I always make a point to make my records different. Let's say I have a record that's influenced by hip-hop in an abstract way; for the next record, I'd try not to do that. They are all connected in a personal way but it's important not to repeat myself, because then I can always learn something about myself through my work.
With a live audience, it's very clear when you've pushed it too far to the edge - because you fall off that edge and hit bottom with a thud. Nothing abstract about that. You know you went too far when you hear that groan or worse - that silence instead of the big laugh you were expecting following your hilariously edgy joke.
Someone will write a resolution that says, 'I want to exercise more,' or 'I want to lose 15 pounds' - which is great, that's a great goal to have - but every study tells us that if you pose things in abstract, goal-related terms, it's much less likely that you will accomplish it than if you structure it as an actual activity.
For me, what is political is very personal. Politics are not this abstract idea. Laws are the rules that dictate how we live our lives. What we eat is political. How we dress is political. Where we live is political. All of these things are influenced by political decision-making, and it's important to be part of the process.
A typical leader has - a natural tendency is to be defensive in the face of a crisis. The first reaction is to blame someone - or something - else. Often, the blame is aimed at something abstract or non-controllable, which often has nothing to do with the crisis but is adjacent to whatever is going on, so it's an easy target.
I'm very interested in the distance and the space between those two poles: very concrete, song-based stuff on the one hand and very improvisational, abstract stuff on the other. I don't see any reason music should exclude one or the other, and I think the pairing of them together makes for very interesting music in a lot of ways.
When I was going to school and under the influence of Abstract Expressionism, I believed that if you had a give-and-take rapport with your work that it would be you, and that would be all that was required. It would be honest, and the core of your personality would come out if you responded to position and contrasts in your work.
My colleagues and I have gone in the footsteps of our predecessors since the very first day we were called by our people to care for their future. We went any place, we looked for any avenue, we made any effort to bring about negotiations between Israel and its neighbors, negotiations without which peace remains an abstract desire.
We speak of 'software eating the world,' 'the Internet of Things,' and we massify 'data' by declaring it 'Big.' But these concepts remain for the most part abstract. It's hard for many of us to grasp the impact of digital technology on the 'real world' of things like rocks, homes, cars, and trees. We lack a metaphor that hits home.
When I was a little kid, I was a huge fan of 'The Kids in the Hall.' They were like my boy band. I was obsessed with sketch comedy. Being raised Christian, I was somewhat sheltered from the more radical high-art world. So to me, comedy was where people got to express themselves in an abstract way. It was a big part of my growing up.
One thing that makes me very happy is to have a complicated idea and to feel that I've expressed myself clearly. I remember writing the ending to 'Happier at Home.' I wrote the entire book to build to that ending 'now is now,' and what I had to say was very abstract, and yet I felt satisfied that I managed to say what I wanted to say.
The British are supposed to be particularly averse to intellectuals, a prejudice closely bound up with their dislike of foreigners. Indeed, one important source of this Anglo-Saxon distaste for highbrows and eggheads was the French revolution, which was seen as an attempt to reconstruct society on the basis of abstract rational principles.
As a general habit and general tendency, I prefer not to bog a piece down with a great number of transitory, contemporary references, because in the end, I'm concerned, not in an abstract way, but an actual way, with creating a world which has a universality to it - even though what goes on is made up of texture and detail, contemporary detail.
Touring was an abstract idea for me in the beginning. I didn't know where it was going to take me, but I knew that I wanted to go and play for lots of people. I always had that image in my mind. I had no idea what the touring experience was like, and how it was going to unfold, but I knew that I wanted to tour. Then it just started happening slowly started happening.