Quotes of All Topics . Occasions . Authors
I write both, as you know, dozens of ecological and social scientific and historical works, dozens of novels. It's hard to describe a novel that grapples with the horrors of World War II as anything but grueling. But Codex Orféo is somehow...well, I hope, riveting for readers. Deeply provocative. Cinematic in a nearly surreal sense.
I tap danced for ten years before I began to understand people don't make musicals anymore. All I wanted to do was be at MGM working for Arthur Freed or Gene Kelly or Vincent Minelli. Historical and geographical constraints made this impossible. Slowly but surely the pen became mightier than the double pick-up time step with shuffle.
The truth is that History, with its imposing capital H, is simply the amalgamation of many quotidian lives lived in very ordinary ways. History is always personal. If you read Holocaust survivor or American slavery survivor narratives, you realize all too well that these great Historical moments were personal to someone at some time.
I love the ideas of looking back to historical heroes to give us inspiration on how we can be today's heroes to move forward in the future. So guys like... William Bradford and William Wallace, the Bravehearts, the Patriots, the Pilgrims. There are so many of those people throughout history... whose stories have just never been told.
I would not hesitate to say I was addicted to the Internet in the first two years. It can be addictive, and things not taken in moderation have negative effects. But the alarmism around 'Facebook is changing our brains' strikes me as a kind of historical trick. Because we now know from brain science that everything changes our brains.
Wardruna is a combination of old and new. I use historical instruments and new and electronic instruments and tools. I use drones and samples to build these huge sounds. Sometimes just a sound can trigger words or melodies. I don't have a romantic notion about the past; with Wardruna I wanted to create something new using something old.
Lore is my favorite kind of story. Because it's not only historical, it's a lie everyone knows is a lie but tells anyway. I love that. Of course every story I tell is true. Completely true. Completely and utterly at least five-eighths of the way to being true, which is truer than any piece of lore and truer than most truths you'll hear.
There are usually three sections of people who like my work. There are those who like them aesthetically. They see beauty in the images. Second, there are those who like the horror aspect, which is by design, and I like that. Third, there are those who are moved by the historical or political nature of them. They want to talk about them.
I expressed skepticism, in the first chapter, about the utility of time machines in historical research. I especially advised against graduate students relying on them, because of the limited perspective you tend to get from being plunked down in some particular part of the past, and the danger of not getting back in time for your orals.
At least I've had to come to that in my life, to realize that this stuff called failure, this stuff, this debris of historical trauma, family trauma, you know, stuff that can kill your spirit, is actually raw material to make things with and to build a bridge. You can use those materials to build a bridge over that which would destroy you.
I always believed that photography was subjective, interpretive and certainly did not represent the truth, but I did think that its status as a societal and historical referent needed to be both safeguarded and illuminated....now photojournalism is devolving into yet another medium perceived as intending to shock, titillate, sell, distort.
I think it is fair to say that during World War II there was a high sense of purpose. The country had a very clear vision of its own standing, of its own morality. It was not an ambiguous time. Today, we live in a world that is highly ambiguous, very fractured, with many of the historical, traditional values in a state of collapse, really.
The critical thing about Western democracy is the fact that you usually have a transition of power without bloodshed. That is an enormous advantage. But still, democracy as we know it was only invented recently in the West, historical speaking. It did not really work in ancient Rome. It functioned for less than 200 years in ancient Athens.
There is not one particular moment that can account for the shift from the social issue concerns of 19th-century evangelicals into the state of American evangelicalism today. Some historical moments are telling. The rise of biblical criticism in the 19th century forced evangelicals to make choices about what they believed about the gospel.
The core cuisine of Southern food is established in the plantation South, within the world of slavery. To understand the plantation table, we must understand the relationship of enslaved people to Africa, to historical trauma, and their central role in food production. Their voice is the most poignant, expressive voice in Southern cuisine.
The reaction we should be having to [rich liberals] is not ridicule, but rather self-criticism. Why aren't we organizing them? I mean, we are the ones that ought to be organizing them, not Rush Limbaugh. There are historical analogs, which are not exact, of course, but are close enough to be worrisome. This is a whiff of early Nazi Germany.
I will say that adapting a character like Da Vinci really wasn't that dissimilar from doing Batman or Superman. Because all three of these guys are really iconic figures, and yes, Da Vinci was historical, but there's clearly been a lot of mythmaking about him, and a lot of things have been attributed to him that may or may not have happened.
According to Marx, socialism is the first stage of communism and it covers a very long historical period in which we must practise the principle "to each according to his work" and combine the interests of the state, the collective and the individual, for only thus can we arouse people's enthusiasm for labour and develop socialist production.
The field of the novel is very rich. If you're a composer, you're well aware of the history of composition, and you are trying to make your music part of that history. You're not ahistorical. In the same way, I think, if you write now, you are writing in the historical context of what the novel has been and what possibilities it has revealed.
One of the big problems in this field is that there's so much mystification that surrounds talk of the Shari'a, whether its saying that Islam is all about peace or whether its people saying that Islam is all about Jihad and all about suicide bombs. People will make statements which don't seem to be backed up by any sort of historical context.
Cultural concepts are one of the most fascinating things about historical fiction. There's always a temptation, I think, among some historical writers to shade things toward the modern point of view. You know, they won't show someone doing something that would have been perfectly normal for the time but that is considered reprehensible today.
A nation lives forever through its concepts, honor, and culture. It is for these reasons that the rulers of nations must judge and act not only on the basis of physical and material interests of the nation but on the basis of the nation's historical honor, of the nation's eternal interests. Thus: not bread at all costs, but honor at all costs.
Saying that the origin of the Islamic State (IS) is within the Muslim Brotherhood organisation only strengthens IS. This is what the Israeli government asserts when claiming that Hamas and IS are the exact same thing. By saying so, the historical resistance [against the Israeli occupation] is viewed as unlawful, called extremism and terrorism.
There is an obsession with black tragedy. If you see a black movie, it's typically historical, and it tends to deal with our pain. And listen, there have been some excellent films made in that vein, and there are some painful parts of black history that should be explored, but it is kind of weird that only those films bubble up to the surface.
And that's the one thing that people do not understand is that we have very low interest rates and if those go back to historical levels or even go back to scary thoughts that they're back in the late '70s, early '80s, then that's going to really be hard to actually pay off those debts. It's going to be a - it's going to be a very big problem.
That the language of the poetry of Jamaican music is rastafarian or biblical language cannot simply be put down to the colonizer and his satanic missionaries. The fact is that the historical experience of the black Jamaican is an experience of the most acute human suffering, desolation and despair in the cruel world that is the colonial world.
Is the warming unprecedented? Probably not. There is abundant historical and proxy evidence for both hotter and cooler periods in human history. Is it our fault? Again, maybe. The correlation of increasing warmth with increasing carbon dioxide concentrations is particularly weak; that with solar energy and with ocean movements is much stronger.
If I have the same plan to go into the streets, find random strangers, use art-historical referent from their - from the specific location, to use decorative patterns from this location, that's a rule. That's a set of patterns that you can apply to all societies. But what gives rise or what comes out of each experiment is so radically different.
History is valuable, to begin with, because it is true; and this, though not the whole of its value, is the foundation and condition of all the rest. That all knowledge, as such, is in some degree good, would appear to be at least probable; and the knowledge of every historical fact possesses this element of goodness, even if it posses no other.
I mistakably paid respect and condolences to the wrong Beastie Boy member King Ad-Rock when it should have been MCA. In light of this, I am redoing the song 'Hip Hop Speaks From Heaven' and I am pulling the original version off of my digital release. Historical accuracy is extremely important to me, so I accept all responsibility for this error.
Where psychedelics comes together with that is that it's going to require a transformation of human language and understanding to stop the momentum of the historical process, to halt nuclear proliferation, germ warfare, infantile 19th century politics, all these things. It cannot be accomplished through a frontal assault upon it by political means.
World dictatorship can be established only when the victory of socialism has been achieved in certain countries or groups of countries ... [and] when these federation of republics have finally grown into a world union of Soviet Socialist Republics uniting the whole of mankind under the hegemony of the international proletariat organized as a state.
The facts which our senses present to us are socially performed in two ways: through the historical character of the object perceived and through the historical character of the perceiving organ. Both are not simply natural; they are shaped by human activity, and yet the individual perceives himself as receptive and passive in the act of perception.
Every time some new huckster of angst-ridden metaphor is appointed by Art Forum, the congregation genuflects, stroking the catalog like a handful of Rosary beads, and starts spreading that old gospel according to Hyperbole. No questions asked... And thus the bill of goods is sold, all along the line. An art historical snake, swallowing its own tale.
Everybody needs a fan, and the support and the encouragement. We're human beings; that is an essential part of the equation. When that fan is not there and when you're in a situation that triggers you on a historical level, you behave impulsively. You can destroy years worth of work professionally, personally, in a moment of being triggered by that.
For we cannot adequately understand 'man' as an isolated biological creature, as a bundle of reflexes or a set of instincts, as an 'intelligible field' or a system in and of itself. Whatever else he may be, man is a social and an historical actor who must be understood, if at all, in close and intricate interplay with social and historical structures
What is the cause of historical events? Power. What is power? Power is the sum total of wills transferred to one person. On what condition are the willso fo the masses transferred to one person? On condition that the person express the will of the whole people. That is, power is power. That is, power is a word the meaning of which we do not understand.
There is a thinking in primordial images, in symbols which are older than the historical man, which are inborn in him from the earliest times, eternally living, outlasting all generations, still make up the groundwork of the human psyche. It is only possible to live the fullest life when we are in harmony with these symbols; wisdom is a return to them.
What I did that was new was to prove that the existence of classes is only bound up with particular, historical phases in the development of production; that the class struggle necessarily leads to the dictatorship of the proletariat; and that dictatorship itself only constitutes the transition to the abolition of all classes and to a classless society.
True reflection presents me to myself not as idle and inaccessible subjectivity, but as identical with my presence in the world and to others, as I am now realizing it: I am all that I see, I am an intersubjective field, not despite my body and historical situation, but, on the contrary, by being this body and this situation, and through them, all the rest.
If we define 'thought collective' as a community of persons mutually exchanging ideas or maintaining intellectual interaction, we will find by implication that it also provides the special 'carrier' for the historical development of any field of thought, as well as for the given stock of knowledge and level of culture. This we have designated thought style.
If we're ignorant of the historical sacrifices that made our liberties possible, we will be less likely to make the sacrifices again so that those liberties are preserved for future generations. And, if we're ignorant, we won't even know when government infringes on our liberties. Moreover, we'll happily cast our votes for those who'd destroy our liberties.
Scientific culture created a framework within which individual mobility was possible without threatening hierarchical work-force allocation. On the contrary, meritocracy reinforced hierarchy. Finally, meritocracy as an operation and scientific culture as an ideology created veils that hindered perception of the underlying operations of historical capitalism.
Nothing is more detestable to the physical anthropologist than... the wretched habit of cremating the dead. It involves not only a prodigal waste of costly fuel and excellent fertilizer, but also the complete destruction of physical historical data. On the other hand, the custom of embalming and mummification is most praiseworthy and highly to be recommended.
When I think about what really matters, it's not looking at art that has made the most difference or has been most shaping of the poetry; it's simply living as completely in the world as a politically alert creature, as someone who is both stuck in and also trying to view the historical moment. Folded into all of that, of course, whatever you see in your life.
Sociologists and historians have avoided looking for the family sources of wars and social violence. Whenever a group produces murderers, the early parental relationship must have been abusive and neglectful. Yet this elementary truth has not even begun to be considered in historical research; just stating that poor mothering lies behind wars seems blasphemous.
Human beings can be redeemed. Empires cannot. Our refusal to face the truth about empire, our refusal to defy the multitudinous crimes and atrocities of empire, has brought about the nightmare Malcolm predicted. And as the Digital Age and our post-literate society implant a terrifying historical amnesia, these crimes are erased as swiftly as they are committed.
The time has come for a new immigration commission to develop a new set of reforms to our legal immigration system in order to achieve the following goals. To keep immigration levels measured by population share within historical norms, to select immigrants based on their likelihood of success in U.S. society and their ability to be financially self-sufficient.
A modern theory of knowledge which takes account of the relational as distinct from the merely relative character of all historical knowledge must start with the assumption that there are spheres of thought in which it is impossible to conceive of absolute truth existing independently of the values and position of the subject and unrelated to the social context.
Argumentation is a human enterprise that is embedded in a larger social and psychological context. This context includes (1) the total psyches of the two persons engaged in dialogue, (2) the relationship between the two persons, (3) the immediate situation in which they find themselves and (4) the larger social, cultural and historical situation surrounding them.