Art

"In a way, artists are messengers between worlds, bringing ideas and symbols from one to the other."

"That's what we do as artists: we collect, we connect, we serve as scribes for the collective culture, and as messengers between worlds. Most important, we bring these symbols to the public. This is our gift, our regalo, our ofrenda. But it's up to the reader, the viewer, the listener, to bring out the power of these stories, to call out their names, and give them a place in the world."

"All great artists draw from the same resource: the human heart, which tells us all that we are more alike than we are unalike."

"One writes out of one thing only — one's own experience. Everything depends on how relentlessly one forces from this experience the last drop, sweet or bitter, it can possibly give. This is the only real concern of the artist, to recreate out of the disorder of life that order which is art."

"Only if we face these open wounds in ourselves can we understand them in other people. An artist is a sort of emotional or spiritual historian. His role is to make you realize the doom and glory of knowing who you are and what you are. He has to tell, because nobody else can tell, what it is like to be alive."

"Being an artist is about creative freedom. I want to save the world and that's why social commentary is always present in my work. It's easy to live with your eyes shut but that's not fulfilling or helpful to the world."

"“He is difficult to work with, like every real artist, but certainly fond of money—” “Like every real artist. I believe I see your point.”"

"A writer — and, I believe, generally all persons — must think that whatever happens to him or her is a resource. All things have been given to us for a purpose, and an artist must feel this more intensely. All that happens to us, including our humiliations, our misfortunes, our embarrassments, all is given to us as raw material, as clay, so that we may shape our art."

"Artists shouldn't be made famous."

"An artist is a man of action, whether he creates a personality, invents an expedient, or finds the issue of a complicated situation."

"In order for the artist to have a world to express he must first be situated in this world, oppressed or oppressing, resigned or rebellious, a man among men."

"Art is the complement of science. Science as I have said is concerned wholly with relations, not with individuals. Art, on the other hand, is not only the disclosure of the individuality of the artist but also a manifestation of individuality as creative of the future, in an unprecedented response to conditions as they were in the past. Some artists in their vision of what might be but is not, have been conscious rebels. But conscious protest and revolt is not the form which the labor of the artist in creation of the future must necessarily take. Discontent with things as they are is normally the expression of the vision of what may be and is not, art in being the manifestation of individuality is this prophetic vision."

"If I were asked to saywhat distinguishes an artistic temperament from any other, I'd say that it's a fundamental sense that the project of being aliveis something peculiar, little understood."

"Let us consider two important factors, the two poles of the creation of art: the artist on one hand, and on the other the spectator who later becomes the posterity; to all appearances the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing."

"Just picture it to yourself," he would explain. "From the depths of the universe, millions of eyes are looking down, and what do they see? A dull, monochrome grey mass crawling and crawling over the earth, then suddenly, like a pistol shot — a bright red blob! That's me going outside."

"We become expert artists because of love’s investment, not capitalism’s."

"Great artists are people who find the way to be themselves in their art. Any sort of pretension induces mediocrity in art and life alike."

"I have come to the conclusion that a work of art restricted to what the artist has put in it is only a part of itself. It only attains full stature with what people and time make of it. It involves the whole complex of human relation to life. It is a mode of thinking, acting, perceiving and living."

"[T]he entrepreneur is the focal point at which the dynamic forces... materialize into action for economic progress. The entrepreneur doesn't really respond primarily to the profit motive... entrepreneur and investor—are often not... the same person. Neither does the entrepreneur seek power... management and entrepreneur are not necessarily one. Nor do Veblenesque social status or Weberian Protestant righteousness seem to be the main motives... Rather, he seems to be the adventurer, a pioneer, an artist sculpting in economic clay. ...Is the dynamic force that sustains the industrialized economic system... an irrational spirit..? Many economists... postulate the existence of an "economic man," who rationally and objectively computes... and makes a decision that will maximize profits. ...[T]his imaginary construct is the dynamic implicitly assumed for almost all of the economic theories from the late 1800s to the present. ...[T]hey continue to use it because without economic man most of their theories would be invalidated."

"The studio, a room to which the artist consigns himself for life, is naturally important, not only as workplace, but as a source of inspiration. And it usually manages, one way or another, to turn up in his product."

"I’ve been blessed to know a lot of artists who are also mothers, who don’t necessarily go the cliché route of “motherhood ruins you.” It has always been more nuanced conversations, about the joy found in some aspects of parenting, how this perspective does and doesn’t inform creative life, and how one has a full community life as an artist even if one isn’t as a mother."

"The name of Leonardo da Vinci will be invoked by artists to prove that only a great artist can be a great technician. The name of Leonardo da Vinci will be invoked by technicians to prove that only a great technician can be a great artist."

"The Joker I now do what other people only dream. I make art until someone dies. See? I am the world's first fully functioning homicidal artist."

"To the artist, to the musician, is given the task of creating and expressing beauty--of sensitizing the souls of men."

"This is precisely what is decisive in Nietzsche’s conception of art, that he sees it in its essential entirety in terms of the artist; this he does consciously and in explicit opposition to that conception of art which represents it in terms of those who “enjoy” and “experience” it. That is a guiding principle of Nietzsche's teaching on art: art must be grasped in terms of creators and producers, not recipients. Nietzsche expresses it unequivocally in the following words (WM, 811): “Our aesthetics heretofore has been a woman’s aesthetics, inasmuch as only the recipients of art have formulated their experiences of ‘what is beautiful.’ In all philosophy to date the artist is missing.” Philosophy of art means “aesthetics” for Nietzsche too—but masculine aesthetics, not feminine aesthetics. The question of art is the question of the artist as the productive, creative one; his experiences of what is beautiful must provide the standard."

"If we are to change our world view, images have to change. The artist now has a very important job to do. He's not a little peripheral figure entertaining rich people, he's really needed."

"Artists have themes that they go back to—that they are haunted by and obsessed with."

"I hope when artists write new characters, we invent new archetypes and they are visions of ways that we can be...What we need to do is to be able to imagine the possibility of a playful, peaceful, nurturing, mothering man, and we need to imagine the possibilities of a powerful, nonviolent woman and the possibilities of harmonious communities and if we can just imagine them, that would be the first step toward building them and becoming them."

"The artist tries to see what there is to be interested in... He has not created something, he has seen something."

"My job is to help the world..That is what an artist's job is—to the degree that we can. That is nothing more than holding up a mirror and saying, 'You're beautiful, baby.' Or holding up a mirror and saying, 'Look at the shit that you're doing to yourself. Maybe you should stop.' It is an artist's job to speak truth to power."

"there is some sense in which that lack of establishment approval is a blessing, for an artist must learn (the sooner the better) that he or she works for the work itself, not for approval, and it is easier to establish that sense of creative independence when approval is lacking than when one is seduced by it."

"... the primary obstacle for any artis: not piracy, but obscurity."

"The first major European development in mathematics occurred in the work of the artists. Imbued with the Greek doctrines that man must study himself and the real world, the artists began to paint reality... instead of interpreting religious themes in symbolic styles. They applied Euclidean geometry to create a new system of perspective... From the work of the artists, the mathematicians derived ideas and problems that led to a new branch of mathematics, ."

"Two things make the future real, the artist's imagination and the worker's hope. Fascism destroys both. Therefore the artist and the worker must unite to destroy Fascism. The Fascist artist is a traitor, the neutral is already dead. Art and anti-Fascism are synonymous."

"Dead he is not, but departed,—for the artist never dies."

"He's being irritating and irresponsible, but what do you expect? He's an artist."

"The authentic artist carries within himself another world to which the ordinary person has no access. The great value of the poet is that he enriches us with new, thoroughly experienced feelings, with unseen or differently seen landscapes."

"It is only after years of preparation that the young [artist] should touch color — not color used descriptively, that is, but as a means of personal expression."

"we are all supposed to become artists; that the transformation of culture through art is the proper understanding of what you can do with psychedelics besides blow your own mind. And I really think, you know, what we need to do is put the art-pedal to the floor, and understand that this is art—we are involved in some kind of enormous piece of performance art called Western civilization, and, you know, it's been a C-minus performance so far … and they are just about to reach out with the hook and drag us offstage, unless we begin pulling rabbits out of the hat pretty furiously."

"We're creators by permission, by grace as it were. No one creates alone, of and by himself. An artist is an instrument that registers something already existent, something which belongs to the whole world, and which, if he is an artist, he is compelled to give back to the world."

"This sudden importance of art—an importance discovered by ideological movements, by the State, and by the business world—has made the artist a central figure on the public place. His earlier revolt against society, his marginal role as an entertainer, have of course predestined him to the role of an ally of all progressive movements that promise a universal society, that is, a universal public for his books, poems, paintings and partitions. His shudder before the ugliness of capitalist civilization, his isolation from the masses whose warmth and understanding he genuinely needs, make him an ideal, because uncritical, partner of the progressive ideologues who preach the overthrow of all that he hates."

"The observation of nature is part of an artist's life, it enlarges his form-knowledge, keeps him fresh and from working only by formula, and feeds inspiration"

"There is one quality I find in all the artists I admire most - men like Masaccio, Michelangelo, Rembrandt, Cezanne. I mean a disturbing element, a distortion, giving evidence of a struggle of some sort."

"Revolution is not only won by numbers, but by visionaries, and if artists aren't visionaries, then we have no business doing what we do."

"The social outcome of the arts and crafts movement was not commensurate with the needs of the new situation; as Mr. Frank Lloyd Wright pointed out in his memorable speech at Hull House in 1908, the machine itself was as much an instrument of art, in the hands of an artist, as were the simple tools and utensils."

"A man who works with his hands is a laborer; a man who works with his hands and his brain is a craftsman; but a man who works with his hands and his brain and his heart is an artist."

"It is an artist’s dream/goal to share their work with the world, and I have been blessed in that regard. I have enjoyed creating and sharing it all…(What advice do you have for young artists?) DO: Without hesitation, I would say just be yourself and let your imagination, thoughts, beliefs, views, visions — or whatever inspires you — be seen. Be vulnerable, and share what is inside you. Regardless of what medium you chose to create, open up and share your gift."

"The unknown shines through the productions of great artists in partially articulated form. The awe-inspiring ineffable begins to be realized but retains a terrifying abundance of its transcendent power. That is the role of art, and that is the role of artists. It is no wonder we keep their dangerous, magical productions locked up, framed, and apart from everything else."

"What do you think an artist is? An imbecile who has only eyes if he is a painter, ears if he's a musician, or a lyre in every chamber of his heart if he's a poet, or even, if he's a boxer, only some muscles? Quite the contrary, he is at the same time a political being constantly alert to the horrifying, the passionate or pleasing events of the world, shaping himself completely in their image... No, painting is not made to decorate apartments. It's an offensive and defensive weapon against the enemy."

"In the twentieth century, modernism and postmodernism took over, and their practitioners disdained beauty as bourgeois, saccharine, lightweight. Art was deliberately made incomprehensible or ugly or shocking... on the assumption that our predilections... were reversible social constructions. This also led to an exaggeration of the dynamic of social status that has always been part of the arts. The elite arts used to be aligned with the economic and political aristocracy. They involved displays of sumptuosity and the flaunting of rare and precious skills that only the idle rich could cultivate. But now that any schmo could afford a Mozart CD or go to a free museum, artists had to figure out new ways to differentiate themselves from the rabble. So art became baffling and uninterpretable—unless you had some acquaintance with arcane theory."

"Without inspiration, without the Muses' enchantment, no artist, no matter how skilled they may be, can be considered a true artist."

"To express himself well, the artist should be hidden... The trouble is that if an artist knows he has genius, he's done for. The only salvation is to work like a labourer, and not have delusions of grandeur."

"The artist who uses the least of what is called imagination, will be the greatest!"

"Where every public decision has to be justified in the scales of corporate profits, poetry unsettles these apparently self-evident propositions-not through ideology, but by its very presence and ways of being, its embodiment of states of longing and desire...poetry is always being created anew, in new places, by unforetold hands and voices. In this, it is like the many movements against demoralizing power. We don't know where either will come from. This is a story without an end."

"In a time when so many artists have learned to confabulate with extremes of horror and alienation, the most daring thing an artist can do is to fill a book, a gallery, or a theater with joy, hope, and beauty."

"The artist occupies a unique position vis-à-vis the society in which he lives. However dependent upon it he may be for his livelihood, he is still somewhat removed from its immediate struggles for social status or for economic supremacy. He has no really vested interest in the status quo. The only vested interest-or one might say, professional concern-which he does have in the present way of things rests in his ability to observe them, to assimilate the multifarious details of reality, to form some intelligent opinion about the society or at least an opinion consistent with his temperament. That being the case, he must maintain an attitude at once detached and deeply involved."

"In framing an artist, art hath thus decreed, To make some good, but others to exceed."

"Dead artists always bring out an older, richer crowd."

"It was Homer who gave laws to the artist."

"Kore-eda knows: A scared artist is a contradiction in terms; it betrays their vocation."

"Mathematics is too arduous and uninviting a field to appeal to those to whom it does not give great rewards. These rewards are of exactly the same character as those of the artist. To see a difficult uncompromising material take living shape and meaning is to be Pygmalion, whether the material is stone or hard, stonelike logic. To see meaning and understanding come where there has been no meaning and no understanding is to share the work of a demiurge. No amount of technical correctness and no amount of labour can replace this creative moment, whether in the life of a mathematician or of a painter or musician. Bound up with it is a judgement of values, quite parallel to the judgement of values that belongs to the painter or the musician. Neither the artist nor the mathematician may be able to tell you what constitutes the difference between a significant piece of work and an inflated trifle; but if he is not able to recognise this in his own heart, he is no artist and no mathematician."

"Art is the most intense mode of Individualism that the world has known. I am inclined to say that it is the only real mode of Individualism that the world has known. Crime, which, under certain conditions, may seem to have created Individualism, must take cognisance of other people and interfere with them. It belongs to the sphere of action. But alone, without any reference to his neighbours, without any interference, the artist can fashion a beautiful thing; and if he does not do it solely for his own pleasure, he is not an artist at all."

"For an artist there is no more serious and, at the same time, more joyous task than to create, through art, a new aesthetic, and ultimately, a new way of being."

"The artist is nothing without the gift, but the gift is nothing without work."

"When you look for the motivations you always go to the basic instincts, to the basic emotions, the basic things that have moved humankind always. That's what all writers write about, ultimately. What did Shakespeare write about? Jealousy, love, sex, power, greed, the same stuff that soap operas and the Bible are made of. It's always the same."

"Writing is like training to be an athlete. There is a lot of training and work that nobody sees in order to compete. The writer needs to write every day, just as the athlete needs to train. Much of the writing will never be used, but it is essential to do it. I always tell my young students to write at least one good page a day. At the end of the year they will have at least 360 good pages. That is a book."

"The written word is an act of human solidarity. I write so that people will love each other more."

"Writing is a terrible way to make a living, almost as bad as criticism."

"Reading maketh a full man, conference a ready man, and writing an exact man."

"Any writer, I suppose, feels that the world into which he was born is nothing less than a conspiracy against the cultivation of his talent."

"I am a galley slave to pen and ink."

"When I was young I longed to write a great novel that should win me fame. Now that I am getting old my first book is written to amuse children. For aside from my evident inability to do anything "great," I have learned to regard fame as a will-o-the-wisp which, when caught, is not worth the possession; but to please a child is a sweet and lovely thing that warms one's heart and brings its own reward."

"The free-lance writer is a man who is paid per piece or per word or perhaps."

"It took me fifteen years to discover that I had no talent for writing, but I couldn't give it up because by that time I was too famous."

"When that passage was written only God and Robert Browning understood it. Now only God understands it."

"SCRIBBLER, n. A professional writer whose views are antagonistic to one's own."

"These two rules make the best system: first, have something to say; second, say it."

"So I had this problem—work or starve. So I thought I'd combine the two and decided to become a writer."

"A writer — and, I believe, generally all persons — must think that whatever happens to him or her is a resource. All things have been given to us for a purpose, and an artist must feel this more intensely. All that happens to us, including our humiliations, our misfortunes, our embarrassments, all is given to us as raw material, as clay, so that we may shape our art."

"The personal essay is vulnerable. It cannot stand upon its footnotes."

"That so many writers have been prepared to accept a kind of martyrdom is the best tribute that flesh can pay to the living spirit of man as expressed in his literature. One cannot doubt that the martyrdom will continue to be gladly embraced. To some of us, the wresting of beauty out of language is the only thing in the world that matters."

"The tendinous part of the mind, so to speak, is more developed in winter; the fleshy, in summer. I should say winter had given the bone and sinew to literature, summer the tissues and the blood."

"Oh that I had the art of easy writing What should be easy reading! could I scale Parnassus, where the Muses sit inditing Those pretty poems never known to fail, How quickly would I print (the world delighting) A Grecian, Syrian, or Assyrian tale; And sell you, mix'd with western sentimentalism, Some sample of the finest Orientalism."

"I've half a mind to tumble down to prose, But verse is more in fashion—so here goes!"

"A well-written Life is almost as rare as a well-spent one."

"In every man's writings, the character of the writer must lie recorded."

"Writing is a lonely occupation at best. Of course there are stimulating and even happy associations with friends and colleagues, but during the actual work of creation the writer cuts himself off from all others and confronts his subject alone. He moves into a realm where he has never been before — perhaps where no one has ever been. It is a lonely place, even a little frightening."

"The proper definition of a man is an animal that writes letters."

"My mouth shall be the mouth of those calamities that have no mouth, my voice the freedom of those who break down in the prison holes of despair."

"Un poète doit laisser des traces de son passage, non des preuves. Seules les traces font rêver."

"L'écrivain original n'est pas celui qui n'imite personne, mais celui que personne ne peut imiter."

"Many books require no thought from those who read them, and for a very simple reason; they made no such demand upon those who wrote them."

"Better to write for yourself and have no public, than to write for the public and have no self."

"In its focus on beauty, cursive handwriting is an activity more formative to what parents hope for their children than any single standardized test could be. It uplifts a work-a-day practice like writing and recording into a transcendent good. Content mastery is essential, of course, but cursive instills in students an appreciation of craftsmanship and the importance of taking pride in appearance."

"The trick is not becoming a writer. The trick is staying a writer."

"Create dangerously, for people who read dangerously. This is what I've always thought it meant to be a writer. Writing, knowing in part that no matter how trivial your words may seem, someday, somewhere, someone may risk his or her life to read them. Coming from where I come from, with the history I have having spent the first twelve years of my life under both dictatorships…this is what I've always seen as the unifying principle among all writers. This is what, among other things, might join Albert Camus and Sophocles to Toni Morrison, Alice Walker, Osip Mandelstam, and Ralph Waldo Emerson to Ralph Waldo Ellison. Somewhere, if not now, then maybe years in the future, a future that we may have yet to dream of, someone may risk his or her life to read us."

"To outsiders, teaching writing might seem like leading students through endless punctuation exercises. It’s not. In reality, a postsecondary writing classroom is a place where students develop higher-order skills like formulating (and continuously fine-tuning) a persuasive argument, finding relevant sources, and integrating compelling evidence. But they also extend to essential beneath-the-surface abilities like finding ideas worth writing about in the first place and then figuring out how to organize and structure those ideas."

"If I let my fingers wander idly over the keys of a typewriter it might happen that my screed made an intelligible sentence. If an army of monkeys were strumming on typewriters they might write all the books in the British Museum."

"Happy is he who looks only into his work to know if it will succeed, never into the times or the public opinion; and who writes from the love of imparting certain thoughts and not from the necessity of sale—who writes always to the unknown friend."

"Good typography should be like like a wonderful clear crystal goblet that holds wine. [It is] much better than a golden goblet with jewels on the outside because the point of the crystal goblet is that you can see the wine that is inside. You can appreciate the colors of it. You can see how when you swirl the wine how the texture of the wine clings to the glass and how quickly it drips down back into the pool of wine. And you can see the sediment in the bottom when you hold it up in the light. That's the purpose of typography. It should be invisible."

"You can gather however that I know I am not a real artist, and at the same time am fearfully serious over my work and willing to sweat at atmosphere if it helps me do what I want. What I want, I think, is the sentimental, but the sentimental reached by no easy beaten track—I cannot explain myself properly, for you must remember (I forget it myself) that though 'clever' I have a small and cloudy brain, and cannot clear it by talking or reading philosophy."

"As for 'story' I never yet did enjoy a novel or play in which someone didn't tell me afterward that there was something wrong with the story, so that's going to be no drawback as far as I'm concerned. "Good Lord, why am I so bored"—"I know; it must be the plot developing harmoniously." So I often reply to myself, and there rises before me my special nightmare—that of the writer as craftsman, natty and deft."

"You get ideas from daydreaming. You get ideas from being bored. You get ideas all the time. The only difference between writers and other people is we notice when we're doing it."

"Tomorrow may be hell, but today was a good writing day, and on the good writing days nothing else matters."

"Writers live in houses other people built."

"If nobody reads the writing on the wall, man will be reduced to the state of the beast, whom he is shaming by his manners. I read the writing when the hostilities broke out. But I had not the courage to say the word. God has given me the courage to say it before it is too late."

"May God give power to every word of mine. In his name I began to write this, and in His name I close it."

"Effective writing isn’t in the mechanics. Anyone can master the mechanical act of stringing together words and sentences and paragraphs to make a character move from A to B. The bookstores are full of evidence. But that’s not writing. Writing isn’t about the words, it’s about the experience. It’s about the feeling that the story creates inside of you. If there’s no feeling, there’s no story. But sometimes, there’s only the feeling without any meaning or understanding. And that’s not a story either."

"[Writing is] a bit like shitting...if it's coming in dribs and drabs or not coming at all, or being forced out, or if you're missing the rhythm, it's no pleasure at all."

"I could only see myself making a living through writing, as I had done in China. But should I write in Chinese here, a foreign land, or enrol in a language class and study English grammar? If I continued to write in Chinese I would have no readers here. Besides, I would never create a community of fellow artists and thinkers in my Western life while speaking Chinese."

"Please write again soon. Though my own life is filled with activity, letters encourage momentary escape into others lives and I come back to my own with greater contentment."

"Good writers indulge their audience; great writers know better."

"The first person you should think of pleasing, in writing a book, is yourself. If you can amuse yourself for the length of time it takes to write a book, the publishers and the readers can and will follow."

"I always feel you're writing the book you couldn't find, so you have to write it yourself."

"I don’t think about rules when I’m writing – that’s the great thing about writing: it’s the one place in my life that I can do whatever I want."

"Intellectually as well as emotionally he (Nietzsche) needed solitude. This fact emerges, I believe, from the manner of thinking and style of writing revealed in his books, which are essentially a species of talking to oneself. … He is a man whose mind is full, overfull, of ideas; he is constantly finding ways of expressing them which, as he says in his letters, surprise and delight him; he spends much of each day walking, and at night he sits crouched over his table; and all the time he is talking to himself. He loves his own company, for with no one else can he enjoy such entertaining conversation. Sometimes he contradicts himself, but what would conversation be without contradiction? He argues, he grows angry, he laughs at himself; he postures and exposes himself as a posturer; he announces he is the freest of free-thinkers, and retorts that free-thinking is mere destructiveness. Gradually a philosophy emerges, his philosophy: none of it is of any use to anyone, no one is even interested in it; but one day — so he tells himself — mankind will open its eyes and see that a new world has been discovered."

"He wins every hand who mingles profit with pleasure, by delighting and instructing the reader at the same time."

"murderous signs, scratched in a folded tablet, and many of them too, enough to kill a man."

"There rise authors now and then, who seem proof against the mutability of language, because they have rooted themselves in the unchanging principles of human nature."

"If it was easy, everyone would do it rather than going around telling you their ideas and saying how they could be a writer if they had the time."

"Writing is nothing less than thought transference, the ability to send one's ideas out into the world, beyond time and distance, taken at the value of the words, unbound from the speaker."

"The present writer ... writes because for him it is a luxury that becomes all the more enjoyable and conspicuous the fewer who buy and read what he writes."

"For me, writing is an act of reciprocity with the world; it is what I can give back in return for everything that has been given to me."

"You can approach the act of writing with nervousness, excitement, hopefulness, or even despair — the sense that you can never completely put on the page what's in your mind and heart. You can come to the act with your fists clenched and your eyes narrowed, ready to kick ass and take down names. You can come to it because you want a girl to marry you or because you want to change the world. Come to it any way but lightly. Let me say it again: you must not come lightly to the blank page."

"The job of the writer is to kiss no ass, no matter how big and holy and white and tempting and powerful."

"A preface is a species of literary luxury, where an author, like a lover, is privileged to be egotistical."

"I have been writing all my life, and even now I do not understand the faculty of composition; but this I do know, that the history of the circumstances under which most books are written would be a frightful picture of human suffering. How often is the pen taken up when the hand is unsteady with recent sickness, and bodily pain is struggled against, and sometimes in vain! How often is the page written hurriedly and anxiously,—the mind fevered the while by the consciousness that it is not doing justice to its powers!"

"Advice to writers: Sometimes you just have to stop writing. Even before you begin."

"A writer is like God. He can destroy empires, create new universes."

"He is no parasite on anything, whose work is real: a mechanic, a doctor, a builder, a tailor, a dishwasher. What, in comparison, does a writer produce? Semblances. This is a serious occupation?"

"I love physics, but what was even more important to me was leading a creative life ... And I knew that writers could continue doing their best work later in life.”"

"If I may, I would at this point urge young writers not to be too much concerned with the vagaries of the marketplace. Not everyone can make a first-rate living as a writer, but a writer who is serious and responsible about his work, and life, will probably find a way to earn a decent living, if he or she writes well. A good writer will be strengthened by his good writing at a time, let us say, of the resurgence of ignorance in our culture. I think I have been saying that the writer must never compromise with what is best in him in a world defined as free."

"I have written almost all my life. My writing has drawn, out of a reluctant soul, a measure of astonishment at the nature of life. And the more I wrote well, the better I felt I had to write. In writing I had to say what had happened to me, yet present it as though it had been magically revealed. I began to write seriously when I had taught myself the discipline necessary to achieve what I wanted. When I touched that time, my words announced themselves to me. I have given my life to writing without regret, except when I consider what in my work I might have done better. I wanted my writing to be as good as it must be, and on the whole I think it is. I would write a book, or a short story, at least three times — once to understand it, the second time to improve the prose, and a third to compel it to say what it still must say. Somewhere I put it this way: first drafts are for learning what one's fiction wants him to say. Revision works with that knowledge to enlarge and enhance an idea, to re-form it. Revision is one of the exquisite pleasures of writing: The men and things of today are wont to lie fairer and truer in tomorrow's meadow, Henry Thoreau said. I don't regret the years I put into my work. Perhaps I regret the fact that I was not two men, one who could live a full life apart from writing; and one who lived in art, exploring all he had to experience and know how to make his work right; yet not regretting that he had put his life into the art of perfecting the work."

"A writer is someone for whom writing is more difficult than it is for other people."

"Premeditated details arrive, when you're writing, and my instinct is always to reach for the nearest weapon."

"A rule says "You must do it this way". A principle says, "This works... and has through all remembered time." The difference is crucial. Your work needn't be modeled after the well-made play; rather it must be well made within the principles that shape our art. Anxious, inexperienced writers obey rules. Rebellious, unschooled writers break rules. Artists master the form."

"I turned to writing full time in my middle fifties, in part to learn a few of those many things one never has time for in a conventional career … I enjoy trying to write simply, freshly and directly about subjects that specialized experts tend to deal with in jargon."

"If you steal from one author, it's plagiarism. If you steal from two, it's research."

"Sadly, reading and writing are, at least in part, the victims of a television and internet culture that has effectively encumbered the minds of people. This is problematic because, without reading, it becomes difficult to think analytically and imaginatively about the world’s problems and issues, and it hampers the development of appropriate responses and solutions. Lack of reading also often results in the uncritical acceptance of political slogans which, while they appear plausible, are ultimately devoid of merit."

"The reason I got into magic was that it seemed to be what was lying at the end of the path of writing. If I wanted to continue on that path, I was going to have to get into that territory because I had followed writing as far as I thought I could without taking a step over the edges of rationality. The path led out of rational confines. When you start thinking about art and creativity, rationality is not big enough to contain it all."

"I don’t distinguish between magic and art. When I got into magic, I realised I had been doing it all along, ever since I wrote my first pathetic story or poem when I was twelve or whatever. This has all been my magic, my way of dealing with it."

"You can always count on a murderer for fancy prose style."

"You ask me why I do not write something....I think one's feelings waste themselves in words, they ought all to be distilled into actions and into actions which bring results."

"Why one writes is a question I can answer easily, having so often asked it of myself. I believe one writes because one has to create a world in which one can live. I could not live in any of the worlds offered to me — the world of my parents, the world of war, the world of politics. I had to create a world of my own, like a climate, a country, an atmosphere in which I could breathe, reign, and recreate myself when destroyed by living. That, I believe, is the reason for every work of art."

"I write what I would like to read – what I think other women would like to read. If what I write makes a woman in the Canadian mountains cry and she writes and tells me about it, especially if she says ‘I read it to Tom when he came in from work and he cried too,’ I feel I have succeeded."

"When one reads any strongly individual piece of writing, one has the impression of seeing a face somewhere behind the page. It is not necessarily the actual face of the writer. I feel this very strongly with Swift, with Defoe, with Fielding, Stendhal, Thackeray, Flaubert, though in several cases I do not know what these people looked like and do not want to know. What one sees is the face that the writer ought to have. Well, in the case of Dickens I see a face that is not quite the face of Dickens's photographs, though it resembles it. It is the face of a man of about forty, with a small beard and a high colour. He is laughing, with a touch of anger in his laughter, but no triumph, no malignity. It is the face of a man who is always fighting against something, but who fights in the open and is not frightened, the face of a man who is generously angry — in other words, of a nineteenth-century liberal, a free intelligence, a type hated with equal hatred by all the smelly little orthodoxies which are now contending for our souls."

"The Spanish war and other events in 1936-7 turned the scale and thereafter I knew where I stood. Every line of serious work that I have written since 1936 has been written, directly or indirectly, against totalitarianism and for democratic Socialism, as I understand it. It seems to me nonsense, in a period like our own, to think that one can avoid writing of such subjects."

"Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand."

"what’s a writer for? The whole point is to put yourself into other lives, other heads—writers have always done that. If you screw up, so someone will tell you, that’s all. I think men can write about women and women can write about men. The whole point is to know the facts. Men have so often written about women without knowing the reality of their lives, and worse, without being interested in that daily reality."

"The best training is to read and write, no matter what. Don’t live with a lover or roommate who doesn’t respect your work. Don’t lie, buy time, borrow to buy time. Write what will stop your breath if you don’t write."

"You can’t write without a lot of pressure. Sometimes the pressure comes from anger, which then changes into a pressure to write...The pressure from anger is an energy that can be violent or useful or useless. Also the pressure doesn’t have to be anger. It could be love. One could be overcome with feelings of lifetime love or justice."

"I think a lot of what influences a writer is what you hear in the street, the language you hear, the way people talk, the way, the rhythms, the song, the language of your childhood."

"I have made this [letter] longer, because I have not had the time to make it shorter."

"GR: What advice do you give writers?"

"Thus, in a real sense, I am constantly writing autobiography, but I have to turn it into fiction in order to give it credibility."

"In the mental disturbance and effort of writing, what sustains you is the certainty that on every page there is something left unsaid."

"Writing is a fine thing, because it combines the two pleasures of talking to yourself and talking to a crowd."

"To write something long, sophisticated, and coherent means, at least in part, to become more complex, articulate, and deeper in personality."

"Writing, Phaedrus, has this strange quality, and is very like painting; for the creatures of painting stand like living beings, but if one asks them a question, they preserve a solemn silence. And so it is with written words; you might think they spoke as if they had intelligence, but if you question them, wishing to know about their sayings, they always say only one and the same thing."

"Strength of creative writing lies in the skill of handling words and articulating artistic expression of feelings."

"In influencing write-ups, words seem to move despite residing still on paper."

"When something can be read without effort, great effort has gone into its writing."

"True ease in writing comes from art, not chance. As those move easiest who have learn'd to dance."

"Words are like leaves; and where they most abound, much fruit of sense beneath is rarely found."

"Good authors too, who once knew better words, now only use four-letter words writing prose, anything goes!"

"Most writers enjoy two periods of happiness – when a glorious idea comes to mind and, secondly, when a last page has been written and you haven’t had time to know how much better it ought to be."

"Much of writing might be described as mental pregnancy with successive difficult deliveries."

"I have collected all the writings of the Empire and burnt those which were of no use."

"We should not write so that it is possible for [the reader] to understand us, but so that it is impossible for him to misunderstand us."

"Ethelfreda blinked in surprise. “How did you...” “Know that you're a writer?” When Ethelfreda nodded, Mrs. Gotti said, “You have that pale, physically unfit, financially desperate, and emotionally downtrodden look about you. It’s unmistakable. Only writers ever look like that.”"

"The things you remember have no form. When you write about them, you have to give them a beginning, a middle, and an end. To give life shape—that is what a writer does. That is what is so difficult."

"... I think writing is one of the most pleasurable things one can do. It can be a private thing ... many hours alone in a room typing away, or sometimes racking one's brain to think of things to write. But it is also something that we can share."

"what is writing if not a form of confession in disguise? No matter what the subject, all literary roads lead back to the self. The writer descends like a miner into the deepest shafts of her soul in order to unearth the blackest coals of her torment, or to retrieve the most glittering diamonds of her memories, and bring them back to the surface in the form of fictions that she wishes to share with the world."

"I was never a Sunday scribbler. Writing was never a hobby for me, a pastime to while away the hours. On the contrary, it was as necessary to me as life itself; it was a refuge, a substitute for living, a confrontation with myself, a form of confession - but always it was a necessity that allowed me to feel that my life had an accompanying motif, an underlying melody. Writing often gave me moments of such ecstasy as can only be experienced by lovers; it gave me instances of such intense spiritual forgetfulness that I truly believed that I and the cosmos were one, so that through the simple act of breathing the air in my room I felt that I was inhaling the universe itself. Clasped within the bosom of this universe, my physical self simply ceased to be. Rare moments these, but blessed."

"And lo, though I travel through the valley of the archetypes, I shall fear no evil, for I know that the author can't kill me off for at least another 150 pages, no matter how stupid or trite I become, or he ruins the book."

"I felt that writing for bread would soon have stifled my genius and destroyed my talents, which were more those of the heart than of the pen, and arose solely from a proud and elevated manner of thinking, which alone could support them."

"I have always felt that the position of an author is not and cannot be distinguished and respectable, except in so far as it is not a profession. It is too difficult to think nobly, when one thinks in order to live. In order to be able and to venture to utter great truths, one must not be dependent on success."

"The need of success … might have made me strive to say what might please the multitude, rather than what was true and useful, and instead of a distinguished author which I might possibly become, I should have ended in becoming nothing but a mere scribbler."

"The bottom line is, I have to write the story I want to write. I never wrote them with a focus group of 8-year-olds in mind. I have to continue telling the story the way I want to tell it. I don't at all relish the idea of children in tears, and I absolutely don't deny it's frightening. But it's supposed to be frightening! And if you don't show how scary that is, you cannot show how incredibly brave Harry is."

"I found that life intruding on writing was, in fact, life. And that tempting as it may be for a writer who is also a parent, one must not think of life as an intrusion. At the end of the day, writing has very little to do with writing and much to do with life. And life, my definition, is not an intrusion."

"Say all you have to say in the fewest possible words, or your reader will be sure to skip them; and in the plainest possible words or he will certainly misunderstand them."

"Life is writing. The sole purpose of mankind is to engrave the thoughts of divinity onto the tablets of nature."

"Every writer is a frustrated actor who recites his lines in the hidden auditorium of his skull."

"Of all those arts in which the wise excel, Nature's chief masterpiece is writing well."

"People make interesting assumptions about the profession. The writer is a mysterious figure, wandering lonely as a cloud, fired by inspiration, or perhaps a cocktail or two."

"Fine writers should split hairs together, and sit side by side, like friendly apes, to pick the fleas from each other's fur."

"The writer must believe that what he is doing is the most important thing in the world. And he must hold to this illusion even when he knows it is not true."

"Here's a statement made recently by a man who feels that women writers are quite different from men writers: “I read a piece of writing and within a paragraph or two I know whether it is by a woman or not. I think it is unequal to me.” He talked about something called “feminine tosh”. He didn't mean it in an unkind way, he added. He said this is because of women's “sentimentality, their narrow view of the world . . . And inevitably for a woman, she is not a complete master of a house, so that comes over in her writing, too”."

"Reading and writing are two essential skills of learning — gateway skills. Our K-12 schools and universities had better get them right. Reading opens up worlds. Writing changes worlds. We only speak as well as we write and think. We only write as well as we read. …Images quickly disappear. A shot on the TV screen lasts three to eight seconds. Writing doesn’t vaporize. There is something lasting about it. It’s been said that if you want to extend your life, write and leave something worth reading. …There will always be room for and need for great writers."

"S/he who writes, writes. In uncertainty, in necessity. And does not ask whether s/he is given the permission to do so or not. Yet, in the context of today’s market-dependent societies, “to be a writer” can no longer mean purely to perform the act of writing. For a laywo/man to enter the priesthood—the sacred world of writers—s/he must fulfill a number of unwritten conditions. S/he must undergo a series of rituals, be baptized and ordained. S/he must submit her writings to the law laid down by the corporation of literary/literacy victims and be prepared to accept their verdict. Every woman who writes and wishes to become established as a writer has known the taste of rejection."

"Good writing is thus differentiated from bad writing through a building up of skill and vocabulary and a perfecting of techniques. Since genius cannot be acquired, sophisticated means, skills, and knowledge are dangled before one’s eyes as the steps to take, the ladder to climb if one wishes to come any closer to the top of this monument known as Literature. Invoke the Name. Follow the norms. Of. The Well Written. The master-servant’s creed carries on: you must learn through patience and discipline. And what counts most is what it costs in labor to engender a work, hence the parallel often abusively drawn between the act of writing and the birth process."

"To write is to become. Not to become a writer (or a poet), but to become, intransitively. Not when writing adopts established keynotes or policy, but when it traces for itself lines of evasion."

"It is said that the writer’s choice is always a two-way choice. Whether one assumes it clear-sightedly or not, by writing one situates oneself vis-à-vis both society and the nature of literature, that is to say, the tools of creation. The way I encounter or incorporate the former, in other words, is the way I confront merge into the latter, for these are the two inseparable faces of a single entity. Neither entirely personal nor purely historical, a mode of writing is in itself a function. An act of historical solidarity, it denotes, in addition to the writer’s personal standpoint and intention, a relationship between creation and society. Dealing exclusively with either one of these two aspects, therefore, proves vain as an approach. So does the preaching of revolution through a writing more concerned with imposing than raising consciousness regarding the process by which language works or regarding the nature, activity, and status of writing itself. No radical change can occur as long as writing is not recognized, precisely, as “the choice of that social area within which the writer elects to situate the Nature of her/his language.”"

"Writing as a system by itself has its own rules and structuring process. The abc lesson says that for letters to become words and for words to take on meanings, they must relate to other letters, to other words, to the context in which they evolve—be it verbal or nonverbal—as well as to other present and absent contexts. (Words are think-tanks loaded with second- and third-order memories that die hard despite their ever-changing meanings.) Thus, writing constantly refers to writing, and no writing can ever claim to be “free” of other writings."

"When asked why they write, writers usually answer that they do so to create a world of their own, make order out of chaos, heighten their awareness of life, transcend their existences, discover themselves, communicate their feelings, or speak to others. Some add that they write as they breathe, as they stay alive, or as “birds sing,” to unfold “the comings and goings of a desire” and “exhaust a task that bears in itself its own bliss.” At times Writing is considered as a substitute for something lying beyond it, at other times as a necessity and an activity in its own right, devoid of any ulterior motive or any finality."

"Writing necessarily refers to writing. The image is that of a mirror capturing only the reflections of other mirrors. [...] Writing reflects. It reflects on other writings and, whenever awareness emerges, on itself as writing. Like the Japanese boxes that contain other boxes, nest one inside the other ad nihilum, writing is meshing one’s writing with the machinery of endless reflexivity. Footprints of emptiness multiplied to infinity in an attempt at disarming death."

"Writing, for the majority of us who call ourselves writers, still consists of “expressing” the exalted emotions related to the act of creating and either appropriating language to ourselves or ascribing it to a subject who is more or less a reflection of ourselves."

"Writing, in a way, is listening to the others’ language and reading with the others’ eyes. The more ears I am able to hear with, the farther I see the plurality of meaning and the less I lend myself to the illusion of a single message."

"Writing, like a game that defies its own rules, is an ongoing practice that may be said to be concerned, not with inserting a “me” into language, but with creating an opening where the “me” disappears while “I” endlessly come and go, as the nature of language requires. To confer an Author on a text is to close the writing. Eureka! It makes sense! This is it! I hold the key to the puzzle! Fear and seek. Fear and seek. The danger we fear most is forgetting to fear. Seek and lose. Lose, freely. When you are silent, it speaks; when you speak, it is silent. Writing is born when the writer is no longer."

"Writing as an inconsequential process of sameness/otherness is ceaselessly re-breaking and re-weaving patterns of ready-mades. The written bears the written to infinity."

"If you bring forth what is within you, what you bring forth will save you. If you do not bring forth what is within you, what you do not bring forth will destroy you."

"How vain it is to sit down to write when you have not stood up to live."

"You don't really understand your thoughts until you express them in words."

"Writers take words seriously — perhaps the last professional class that does — and they struggle to steer their own through the crosswinds of meddling editors and careless typesetters and obtuse and malevolent reviewers into the lap of the ideal reader."

"Did you ever think? Old-fashioned writing is the ultimate in context tagging. It’s passive, informative, and present exactly where you need it."

"Originality is nothing but judicious imitation. The most original writers borrowed one from another. The instruction we find in books is like fire. We fetch it from our neighbor's, kindle it at home, communicate it to others, and it becomes the property of all."

"I realized that the purpose of writing is to inflate weak ideas, obscure poor reasoning, and inhibit clarity. With a little practice, writing can be an intimidating and impenetrable fog!"

"In 1966 I was installed as a at , to teach '.' In my opening address I warned my students that creative writing could not be taught; the most I could do was to tell them what being a professional writer meant. ... One cannot be taught how to write. One teaches oneself by writing."

"The effort of expression has a bearing not only on the form but on the thought and on the whole inner being. So long as bare simplicity of expression is not attained, the thought has not touched or even come near to true greatness. … The real way of writing is to write as we translate. When we translate a text written in some foreign language, we do not seek to add anything to it; on the contrary, we are scrupulously careful not to add anything to it. That is how we have to try to translate a text which is not written down."

"It is necessary to write, if the days are not to slip emptily by. How else, indeed, to clap the net over the butterfly of the moment? for the moment passes, it is forgotten; the mood is gone; life itself is gone."

"A man really writes for an audience of about ten persons. Of course if others like it, that is clear gain. But if those ten are satisfied, he is content. A certain amount of encouragement is necessary.""

"I am more or less familiar with the works of the members of this Institute. I have worked in the same field. I have felt that quick comradeship of letters which is a very real comradeship, because it is a comradeship of thought and of principle."

"I think writing, my writing, is a species of mediumship. I become the person."

"The imaginative artist willy-nilly influences his time. If he understands his responsibility and acts on it—taking the art seriously always, himself never quite—he can make a contribution equal to, if different from, that of the scientist, the politician, and the jurist. The anarchic artist so much in vogue now—asserting with vehemence and violence that he writes only for himself, grubbing in the worst seams of life—can do damage. But he can also be so useful in breaking up obsolete molds, exposing shams, and crying out the truth, that the broadest freedom of art seems to me necessary to a country worth living in."

"Photography and cinema contributed in large part to the secularization of history, to fixing it in its visible, "objective" form at the expense of the myths that once traversed it. Today cinema can place all its talent, all its technology in the service of reanimating what it itself contributed to liquidating. It only resurrects ghosts, and it itself is lost therein."

"The mass is a matrix from which all traditional behavior toward works of art issues today in a new form. Quantity has been transmuted into quality. The greatly increased mass of participants has produced a change in the mode of participation."

"The identity-obsessed left has consistently sneered at those who want accuracy in casting decisions, pretending all criticism of politically motivated choices is based on bigotry or sexual frustration."

"But films . . . it’s funny. People buy a ticket. That ticket is their transport to a fantasy which you create for them. Fantasyland, that’s all, and you make their fantasies live. Fantasies of love or hatred or whatever it is. People want their fantasies over and over. People who masturbate usually masturbate with, at the most, four or five fantasies. By and large. Most people like the same food and they like the same kind of music, they like the same kind of sexual fantasy for a period of time, then maybe it changes. As it is in children. Who is it? Bruce Lee. That’s the hero. Then you grow up and grow out of your Bruce Lee period, or your Picasso Blue Period, and go into another period. “But with kids, because they outpower us, because they have no representation, because they are so dependent, all they think about is power. Dinosaurs or the Million Dollar Man, because they feel so helpless, because they have no way out of it, except fantasy. Because they are only that tall. “And that’s all films are. Just an extension of childhood, where everybody wants to be freer, everybody wants to be powerful, everybody wants to be so overwhelmingly attractive that there’s just no doing anything about it. Or everybody wants to have comradeship and to be understood."

"At the outbreak of war in 1939, the power of the feature film, as a means of communication and persuasion rather than just a vehicle for entertainment, was already well established. One of the earliest programmes of study into the effects of the moving image upon the mind had been carried out by the Payne Fund between 1929 and 1932. The experiments that it carried out concentrated on such issues as the extent to which children learnt from film and how well they retained what they learnt; the possibility that exposure to film affected attitudes; and how moral standards might be affected by what was viewed. The findings of these studies showed that the human mind could be shaped and moulded by persons in positions of influence; and, in this context, the film maker was in an almost unique position of influence."

"The Government controlled the film stock supply at this time and all film scripts for films to be made in the UK had to be submitted to the Ministry of Information. If a film was not approved then no film stock would be supplied. In 1939 the BBFC still operated under the broad guiding principles of former President TP O’Connor’s list of ‘grounds for deletion’ which were first published in 1916. These essentially barred: * References to controversial politics * Relations of capital and labour * Scenes tending to disparage public characters and institutions * Realistic horrors of warfare * Scenes and incidents calculated to afford information to the enemy * Incidents having a tendency to disparage our Allies * Scenes holding up the King’s uniform to contempt or ridicule * The exploitation of tragic incidents of the war The aim of all these constraints was to try and ensure that the kinds of films that came out during this period dealt with war in ways that were unlikely to be particularly upsetting or challenging for audiences."

"While people are always quick to take up the cudgels against censorship of the press, or radio, any crackpot can advocate new forms of censorship for the movies, and not a voice is lifted in protest. There's something illogical about this indifference to censorship of the movies. After all, it's just as much a medium of public expression as are the radio and newspapers."

"I have never heard of any youngster going wrong, turning to crime, because of the movies. It simply isn't possible. Our relation to crime is, in a sense, the same as the prison warden's. We don't create it. We deal with it after it has happened, and we always make the criminal look bad."

"Sometimes watching a movie is a bit like getting raped."

"In all, markets outside the United States accounted for roughly $25 billion of $35.9 billion in worldwide box-office sales last year, according to the Motion Picture Association of America. Precisely what share of international sales was captured by American-based companies is unclear, but they remained dominant. Still, Jonathan Wolf, the American Film Market’s managing director, has been watching what he calls “a global shift away from U. S. product over the last 25 years.” Government subsidies for local film have changed tastes in some regions of the world. That shift, and a new generation of television-trained international filmmakers, Mr. Wolf said, have slowly undermined American-based film in ways that will again be apparent at this year’s market. Over a decade, he noted, English-language film exporters have dropped to about 63 percent from 73 percent among those at his event, while United States-based exporters now account for roughly 47 percent of the American Film Market’s pool, down from 53 percent 10 years earlier."

"According to Rentrak, American studio titles accounted for 39 percent of Chinese ticket sales in 2013, down from 44 percent a year earlier. Speaking in October, Rob Cain, a producer and consultant with considerable experience in China, said the American share was back to almost 44 percent. Of nine films to take in more than $100 million at the Chinese box office at that point, five were Chinese films. But an expected strong performance by Paramount’s “Interstellar” will probably keep the American share relatively high through the year’s end, Mr. Cain said. China, aside from a deeply rooted, action-oriented Hong Kong movie culture, has yet to become a powerful exporter of film. To date, it has been more like India, a prolific producer whose wares are mostly viewed within its borders, and among a vibrant diaspora around the world."

"A film is a petrified fountain of thought."

"I'm going to leave you with this machine, pay attention, she's going to ask you a bunch of questions."

"A message I’ve been telling myself: the cinema is very conservative, and unless you have a story that satisfies you, that is within the unchallenging zone, but you love it, you can’t do it as cinema. Otherwise, you better go do it for television, which is more daring now."

"The easiest way to inject a propaganda idea into most people’s minds is to let it go through the medium of an entertainment picture when they do not realize that they are being propagandized."

"I can no longer think what I want to think. My thoughts have been replaced by moving images."

"… a pastime for helots, a diversion for uneducated, wretched, worn-out creatures who are consumed by their worries, … a spectacle which requires no concentration and presupposes no intelligence,… which kindles no light in the heart and awakens no hope other than the ridiculous one of someday becoming a ‘star’ in Los Angeles."

"I always say a screenplay is the big plain pizza, the one with tomatoes and cheese. And then the director comes and says, “You know, it needs some mushrooms.” And you go, “Put mushrooms on it.” And then the costume designer throws peppers on it, and – and pretty soon, you have a pizza with everything on it. And sometimes it’s the greatest pizza of your life and sometimes you think, “Well, that was a mistake. We should have left it with only the mushrooms.”"

"Cinema is an old whore, like circus and variety, who knows how to give many kinds of pleasure."

"The public has lost the habit of movie-going because the cinema no longer possesses the charm, the hypnotic charisma, the authority it once commanded. The image it once held for us all, that of a dream we dreamt with our eyes open, has disappeared. Is it still possible that one thousand people might group together in the dark and experience the dream that a single individual has directed?"

"A good opening and a good ending make for a good film provide they come close together."

"Frivolity, sensuality, indecency, appalling illiteracy and endless platitude are the marks of the degenerate American Theater under Jewish control. [...] it is quite possible that many who read this are not interested in the theater, and are, in fact, convinced. that the theater and cinema are a menace. But, what principally makes these things a menace? This-that the stage and cinema today represent the principal cultural element of 90 percent of the people. What the average young person absorbs as to good form, proper deportment, refinement as contrasted with coarseness, correctness of speech or choice of words, customs and feelings of other nations, fashion of clothes, ideas of religion and law, are derived from what is seen at the cinema and theater. The masses' sole idea of home and life of the rich is derived from the stage and the movies."

"Nooo! Leave that to George Lucas, he' s really mastered the CGI acting. That scares me! I hate it! Everybody is so pleased and excited by it. Animation is animation. Animation is great. But it's when you're now taking what should be films full of people, living thinking, breathing, flawed creatures and you're controlling every moment of that, it's just death to me. It's death to cinema, I can't watch those Star Wars films, they're dead things."

"[Steven Spielberg's films] are comforting, they always give you answers and I don't think they're very clever answers. … The success of most Hollywood films these days is down to fact that they're comforting. They tie things up in nice little bows and give you answers, even if the answers are stupid, you go home and you don't have to think about it. … The great filmmakers make you go home and think about it."

"The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn’t."

"Photography is truth. The cinema is truth twenty-four times per second."

"A wide screen just makes a bad film twice as bad."

"Watching movies, but we ain't seeing a thing tonight."

"If you want to be a storyteller, be an author, be a novelist, be a writer, don't be a film director. Cinema is not the greatest medium for telling stories. It is too specific, leaves so little room for the imagination to take wing other than in the strict directions indicated by the director. Read "he entered the room" and imagine a thousand scenarios. See "he entered the room" in cinema-as-we-know-it, and you are going to be limited to one scenario only."

"If you want to do a film, steal a camera, steal raw stock, sneak into a lab and do it!"

"Film is not the art of scholars, but illiterates."

"As you see [filmmaking] makes me into a clown. And that happens to everyone – just look at Orson Welles or look at even people like Truffaut. They have become clowns."

"I feel that peace has hardly been imagined. It is rarely dramatized in the theater, in the movies, even in books."

"Some 20 years after Lumière’s film, a Harvard psychologist named Hugo Munsterberg challenged researchers to figure out the depth of, and reason for, cinema’s influence: “For the first time the psychologist can observe the starting of an entirely new esthetic development, a new form of true beauty in the turmoil of a technical age, created by its very technique and yet more than any other art destined to overcome outer nature by the free and joyful play of the mind,” Munsterberg wrote in The Photoplay: A Psychological Study, considered by many to be the first important behavioral look at film. But though the research gauntlet had been thrown down, what followed is what one would expect when looking for artistry in a Pauly Shore flick: nothing. Or, at least, very little, says Stuart Fischoff, founder of the Journal of Media Psychology, who in 2003 retired from the psychology department at California State University, Los Angeles. Between 1916, when Munsterberg wrote The Photoplay, and the 1950s, perhaps the most influential psychological research on cinema was L.L. Thurnstone’s 1928 Payne Fund report — a study whose purpose was to indict, not investigate, the role of film on behavior, Fischoff says. In fact, for much of the 20th century, the psychological study of film was considered “lightweight stuff,” says Dolf Zillmann, University of Alabama, one of the field’s pioneers. Film study was approached with a Freudian mindset, and few empirical studies took place. But in the past decade or so, such research has experienced a resurgence — the rare sequel that outperforms the original. “There’s really a new psychology of film in the making,” says Zillmann. Film study from a psychological perspective now takes place in campuses around the country, combining interdisciplinary approaches from several areas, with an increasing focus on the neuroscience of viewer response."

"Let's face it, motion pictures are sausages. But that doesn't mean you can't make artful sausage."

"The culture is unchallenged as the standard setter, and the child’s sense of right and wrong and his priorities in life are shaped primarily by what he learns from the television, the movie screen and the CD player."

"In the world we live in - and the system we've created for ourselves, in terms of it's a big industry - you cannot lose money. So the point is that you're forced to make a particular kind of movie. And I used to say this all the time, with people, you know, back when Russia was the Union of Soviet Socialist Republics, and they'd say: "Oh, but aren’t you so glad that you're in America?" And I'd say: "Well, I know a lot of Russian filmmakers and they have a lot more freedom than I have. All they have to do is be careful about criticizing the government. Otherwise, they can do anything they want"."

"The words "Kiss Kiss Bang Bang," which I saw on an Italian movie poster, are perhaps the briefest statement imaginable of the basic appeal of movies. This appeal is what attracts us, and ultimately what makes us despair when we begin to understand how seldom movies are more than this."

"Dedicated enforcement campaigns have become relatively common sights in developing countries as part of the release strategies for major domestic films, with notable examples including The Irony of Fate 2 (2007), in Russia, Tsotsi (2005) in South Africa, Tropa de Elite 2 (2010) in Brazil and Lagaan (2001), in India. Police mobilization in these situations is generally geared toward the suppression of street piracy during the initial release window for the film, when the majority of profits are made."

"Since 2002, the US movie industry has been a $9-10.5 billion business in domestic box office revenues, with successive record-setting years in 2007, 2008, and 2009. International distribution brought in some 16.6 billion in 2007, $18.1 billion in 2008, and 19.3 billion in 2009 (MPAA 2009). DVD sales are a separate, massive revenue stream: global sales peaked at $23.4 billion in 2007 before dropping to $22.4 billion in 2008 and falling further in 2009. Licensing of movie-related merchandise is a third revenue stream, estimated at roughly $16 billion per year (Oberholzer-Gee and Strumpf 2009). This success is not limited to Hollywood. The Indian movie industry - second in global revenues - has also boomed in recent years and registered 13% growth in 2008, with up to $2.2 billion in box office revenues (seefigure 1.4). Revenues in 2009 dropped slightly to $1.86 billion (Kohi-Khandekar 2010)."

"Although US domestic box office revenues have grown 40% since 2000, the real growth markets have been overseas. Bo office revenues have roughly quadrupled in India since 2000 and tripled in Brazil; they have tripled in Russia since 2004. Because this growth took place against low baselines, however, these markets remain very small compared to their US and European counterparts."

"White examines the hold of analogical reasoning on the legal imagination by assessing the way courts responded to innovations in the social world. The two examples that are the subject of this essay are the treatment of radio and motion pictures in the early part of the twentieth century. He looks at how law responded to these innovations and, in particular, how courts responded to challenges to efforts to impose a regulatory regime on them. The drive to regulate emerged from a particular awareness of the media’s mass quality and the immediacy of the effects they created; in addition, it was fueled by the Progressive Era’s tendency to approve regulation by experts as a way of addressing social concerns. Yet these regulations, at least from the perspective of today, raise serious First Amendment issues. White examines cases challenging regulation to show that analogical reasoning was used to construct a legal history in such a way as to justify regulation in spite of the First Amendment. In the case of film, courts constructed such a history by categorizing it as a form of property. Like property, film might be used to do “evil.” Courts then conjured the history of the “police powers” by which states could invoke their powers to protect the morals of the public. In addition, they brought the regulation of film within the history of administrative law and, as a result, focused only on the nature of the legislative delegation involved. Having established framework of analogies, courts then were able to bring to bear the relevant precedents. In their treatment of those cases they tended to anticipate the position of Marshall in “Payne”, insisting on the value of consistency and continuity of law’s doctrinal structure."

"As one industry insider argued, "Saving Private Ryan suffers on [video] cassette. If you see it at home, you are by no means as impressed with it as you were in the movie theater. And Shakespeare in Love is a more intimate picture, it plays well on cassette. It may actually be enhanced by watching it at home."" In response, Dreamworks' marketing chief, Terry Press countered: "That goes to a larger issue. You're a member of the Motion Picture Academy, not the television video academy. These movies are meant to be seen in movie theaters, all of them. They're not meant to be stopped and started and paused when the phone rings or to feed the dog.""

"A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what’s behind the emotion, the meaning, all that comes later."

"They’re outraged not because of any personal prejudice. They’re outraged because they hate to see any change made on a series and characters they had gotten familiar with. In Spider-Man, when they got a new actor, that bothered them, even though it was a white actor. I don’t think it had to do with racial prejudice as much as they don’t like things changed."

"A motion picture must be true to life. If a picture portrays a false emotion it trains people seeing it to react abnormally."

"Sound and talking undoubtedly increase the entertainment value of a picture. There is a distinct conflict, however, between a pictorial and sound elements, which cannot be entirely avoided until third dimensional pictures are made."

"Not even the church is so powerfully equipped to serve the public psychologically as is the motion picture company."

"If I write a crappy comic book, it doesn't cost the budget of an emergent Third World nation. When you've got these kinds of sums involved in creating another two hours of entertainment for Western teenagers, I feel it crosses the line from being merely distasteful to being wrong. To paint comic books as childish and illiterate is lazy. A lot of comic books are very literate — unlike most films."

"Hollywood, television and film is not my prime area of interest. Because I would never have any control, working in those areas. It’s nice to get the money from a Hollywood project, but whatever they do with it, it would be their piece of work, and not mine."

"Photography because of its causal relationship to the world seems to give us the truth or something close to the truth. I am skeptical about this for many reasons. But even if photography doesn't give us truth on a silver-platter, it can make it harder for us to deny reality. It puts a leash on fantasy, confabulation and self-deception. It provides constraints, borders. It circumscribes our ability to lie — to ourselves and to others."

"It could be that today's conservative movement remains in thrall to the same narrative that has defined its attitude toward film and the arts for decades. Inspired by feelings of exclusion after Hollywood and the popular culture turned leftward in the '60s and '70s, this narrative has defined the film industry as an irredeemably liberal institution toward which conservatives can only act in opposition—never engagement. Ironically, this narrative ignores the actual history of Hollywood, in which conservatives had a strong presence from the industry's founding in the early 20th century up through the '40s, '50s and into the mid-'60s]. The conservative Hollywood community at that time included such leading directors as Howard Hawks, Frank Capra, and Cecil B. DeMille, and major stars like John Wayne, Clark Gable, and Charlton Heston. These talents often worked side by side with notable Hollywood liberals like directors Billy Wilder, William Wyler, and John Huston, and stars like Humphrey Bogart, Lauren Bacall, and Spencer Tracy. The richness of classic Hollywood cinema is widely regarded as a testament to the ability of these two communities to work together, regardless of political differences. As the younger, more left-leaning "New Hollywood" generation swept into the industry in the late '60s and '70s, this older group of Hollywood conservatives faded away, never to be replaced. Except for a brief period in the '80s when the Reagan Presidency led to a conservative reengagement with film—with popular stars like Clint Eastwood, Sylvester Stallone, and Arnold Schwarzenegger making macho, patriotic action films—conservatives appeared to abandon popular culture altogether. In the wake of this retreat, conservative failure to engage with Hollywood now appears to have been recast by today's East Coast conservative establishment into a generalized opposition toward film and popular culture itself. In the early '90s, conservative film critic Michael Medved codified this oppositional feeling toward Hollywood in his best-selling book Hollywood vs. America."

"Of course, print will continue to be used, and it is interesting to speculate what kinds of reading matter would survive in a rigidly totalitarian society. Newspapers will presumably continue until television technique reaches a higher level, but apart from newspapers it is doubtful even now whether the great mass of people in the industrialized countries feel the need for any kind of literature. They are unwilling, at any rate, to spend anywhere near as much on reading matter as they spend on several other recreations. Probably novels and stories will be completely superseded by film and radio productions. Or perhaps some kind of low grade sensational fiction will survive, produced by a sort of conveyor-belt process that reduces human initiative to the minimum."

"It would probably not be beyond human ingenuity to write books by machinery. But a sort of mechanizing process can already be seen at work in the film and radio, in publicity and propaganda, and in the lower reaches of journalism. The Disney films, for instance, are produced by what is essentially a factory process, the work being done partly mechanically and partly by teams of artists who have to subordinate their individual style. Radio features are commonly written by tired hacks to whom the subject and the manner of treatment are dictated beforehand: even so, what they write is merely a kind of raw material to be chopped into shape by producers and censors. So also with the innumerable books and pamphlets commissioned by government departments. Even more machine-like is the production of short stories, serials, and poems for the very cheap magazines. Papers such as the Writer abound with advertisements of literary schools, all of them offering you ready-made plots at a few shillings a time. Some, together with the plot, supply the opening and closing sentences of each chapter. Others furnish you with a sort of algebraical formula by the use of which you can construct plots for yourself. Others have packs of cards marked with characters and situations, which have only to be shuffled and dealt in order to produce ingenious stories automatically. It is probably in some such way that the literature of a totalitarian society would be produced, if literature were still felt to be necessary. Imagination — even consciousness, so far as possible — would be eliminated from the process of writing. Books would be planned in their broad lines by bureaucrats, and would pass through so many hands that when finished they would be no more an individual product than a Ford car at the end of the assembly line. It goes without saying that anything so produced would be rubbish; but anything that was not rubbish would endanger the structure of the state. As for the surviving literature of the past, it would have to be suppressed or at least elaborately rewritten."

"The talkies are the only art that would attract Leonardo da Vinci were he alive to-day. It is the only art that excites a scientist's curiosity, the only art that challenges the engineer, the only art that offers the great artist a medium capable of expressing every human thought and emotion, as well as the pure aesthetic effects of color and music. It is a baby giant, as clumsy as all babies are. Its noises are, we grieve to admit, often as inartistic as the squalling of a baby. But squalling babies have a way of growing up into soft-voices women and great singers. This is why we, the authors, have gladly played the role of nursemaids. We don't know what the baby will be doing and saying when it grows up. But we are sure it will make its mark in the world."

"The literary story is hard enough, heaven knows. It calls for a thorough understanding of the kinds of people you set out to depict. It cannot be of high quality unless the author can plot well. And, of course, it must be cast in distinctive style. The picture of the silent screen does not demand literary abilities, but it does require insight into character as well as drama; furthermore, it is founded upon a high order of visual imagination. The stage play, in a certain sense, calls for all the chief abilities of literary stories and silent pictures; and, in addition, it must be managed with dialogue, which is some thing very different from literary language. But the sound picture goes beyond all of these other art forms. To invent a good one, you must grasp character, drama, settings, and dialogue. But you must go beyond these. You need a fanciful ear. The backgrounds of your story now cry out. The tale is filled with noises. And every least sound adds a unique quality to the total effect."

"People go to moving pictures to be made to weep or laugh, to be happy or unhappy as they watch what hap pens to the screen characters before them. They become completely absorbed in the screen action. They follow the story, willy-nilly. And in so doing, they are forced to feel the emotion/ aroused by the dramatic situations.Pictures makes millions of people, day after day, feel glad or sad, courageous or fearful, righteous or angry. He, can do this, that is to say, within limits, and these limits largely depend upon the story of the picture. If the producer has a powerful enough story, these millions for get themselves and their little joys and woes and escape into the scenes on the screen before them. Small wonder then, that, with such stupendous power over the thinking and feeling of myriads of men, women, and children, the moving picture producer is willing, even eager, to spend hundreds of thousands of dollars — or even a cool mil lion or so — to secure and produce a picture for this world of movie-goers. But the story selected must itself have power enough to arouse the emotions of an audience. Excellent photography and good acting can help to carry successfully any story, but they can never put emotional meaning into a story that is built without emotional appeal."

"The task of depicting character in the sound picture is, in one sense, far easier than in the silent picture. The latter, being essentially pantomime clarified with titles, is cruelly restricted as a medium of depicting human nature. Few of us express ourselves in postures and gestures. Our natural manner finds itself freer and surer in spoken words and, most of all, in decisive acts involving such forms of language as promises, commands, prohibitions, and so on, all of which readily lends itself to reproduction in talk and scene combined. To this extent, character drawing in sound pictures seems to offer pretty much the same opportunities and difficulties as in the drama of the Broadway stage. But a closer study brings out the somewhat startling fact that a sound picture, skillfully handled, can reveal more of a personality than any other device of art or science. The actor on the stage can talk, gesticulate, and move to and fro; but there his powers end. The actor of the talking screen can do all of these things and then carry on his subjective life in the presence of the spectators. We can show pictorially his memories, his fears, his hopes, and his cunning schemes. We can reveal his clenched fist in a close-up. We can show the beads of perspiration on his brow, as he trembles with suppressed rage."

"I'm fascinated by the movies simply because it is an enormous machine for making money and no matter how badly they run it, it still makes money. It's the perfect industry to put your nephew in and your idiot cousin, because they'll be geniuses."

"There is only one thing that can kill the movies, and that is education."

"We know the power of short movies. When they are well done, [they are] greater and more incisive than full-length films. Professionally done trailers are sometimes better than the full movies they announce, being a form of visual art in themselves or even containing self-sufficient micro-stories."

"Until about the mid-1930s, law in film was an authoritative and neutral process—a formal and almost religious space—in which truth could be revealed or justice done through heavy-handed elites. Starting from the late-1930s until the post-WWII period—the "film noir" period—film depicted an underside of law, corruption, and unreasonable attachment to formality at the expense of justice. There are a lot of films from this time that depict legal heroes that flout the law to make sure the truth comes out and that depict mobs taking over both the legal process and civil society. In the mid-1950s onward, classical Hollywood cinema took over with its brighter depiction of the promise of law to help the everyday person. It is an evolution that sounds in grassroots democracy, the value of juries, and the promise of individuals to make a difference working within the system. From the late-1980s, many law films were ahead of their time in terms of civil rights, depicting African American judges, female litigators, and a legal system that is open and sufficiently self-reflective to incorporate criticism into its pursuit of justice. You might think of Philadelphia, with Tom Hanks and Denzel Wasghinton, as one of these films, or A Few Good Men, with Demi Moore as Lt. Cmdr. Joanne Galloway and J.A. Preston as Judge Julius Alexander Randolf. TV has followed a similar arc, but with more police serials than courtroom dramas. As you can see from these periods, the themes of film track and help constitute U.S. socio-political culture."

"Across all the countries examined, females were underrepresented in the film workforce compared to their actual percentages globally. Discrepancy scores were calculated to determine the degree to which on-screen depictions of occupations differ from real-world values (see Table 6). The scores were grouped into three categories based on the size of the discrepancy: small (5-9.9), moderate (10-19.9), and large (20+). India was the only country in which female film jobs revealed a small difference from the real world. Five countries (Japan, Brazil, U.K., China, Korea) showed moderate differences between movie and actual workforce percentages and five countries (France, Russia, U.S., Australia, Germany) showed large differences. Once again, women are underrepresented on screen. This time they comprise less than a quarter of the workforce in international films, which is well below their share in the real world of work. Given that movies can set an agenda for the next generation entering the workforce, the lack of females in the labor market is a concern. Perhaps even more troubling is the types of occupations women are shown possessing, the topic of the next section."

"Well, Jack Warner may have been celebrated for calling writers "Schmucks with Underwoods," but 20 years earlier, Irving Thalberg … said that "The most important person in the motion picture process is the writer, and we must do everything in our power to prevent them from ever realizing that.""

"From the 1960s, cinema was one of the most important aspects of the alliances between Cuba, the USSR and African liberation movements. Filmmaking - both documentary and fiction - in support of rebellious causes were emerging across the world, from Palestine to Latin America, and young members of guerrilla movements such as the PAIGC's Flora Gomes and Sana Na N'hada were sent to Cuba to learn the language and techniques of Third Cinema, the values of revolution and social justice of which echoed the early, utopian ideals of African anti-colonial struggles."

"Watching violence in movies or in TV programs stimulates the spectators to imitate what they see much more than if seen live or on TV news. In movies, violence is filmed with perfect illumination, spectacular scenery, and in slow motion, making it even romantic. However, in the news, the public has a much better perception of how horrible violence can be, and it is used with objectives that do not exist in the movies."

"I honestly don't understand the big fuss made over nudity and sex in films. It's silly. On TV, the children can watch people murdering each other, which is a very unnatural thing, but they can't watch two people in the very natural process of making love. Now, really, that doesn't make any sense, does it?"

"A film is a boat which is always on the point of sinking - it always tends to break up as you go along and drag you under with it."

"To make a film is to improve on life, to arrange it to suit oneself, to prolong the games of childhood, to construct something which is at once a new toy and a vase in which one can arrange in a permanent way the ideas one feels in the morning."

"I make films that I would like to have seen when I was a young man."

"Data from 93 countries and territories cover film production, exhibition and distribution for countries at various levels of economic development for the 2015 reference year.New data show the growing importance of developing countries in the cinema industry. In 2015, developing countries, accounted for 59% of global movie production (see the figure). Booming cinema industries in India and Nigeria, known as Bollywood and Nollywood, are driving growth. In India, for example, film production has nearly doubled since 2005 when just over 1,000 films were produced. With the introduction of digital technology, production started to ramp up in 2012, and in 2015 India reported that 1,907 feature films had been produced."

"But you just don't know where any film is going to go, or how it's going to end up. Films so often don't get the love and attention needed to get to the right festival, or find the right distributor, or get seen by the world."

"[A PG-13 rating is the] studio wanting to make money. R-rated movies are excluded because they limit the audience. The capitalist system completely dominates the American film industry. It’s all about the bottom line. Any argument about filmmaking or art is lost. Even the art of meaning is lost. There’s no meaning to American cinema anymore. The only meaning is money. It’s reduced to that, and it’s horrible. Capitalism can also accept there are other values than money, but it looks like studios can only look at movies for pure profit. That’s why the R rating is gone. Then you get more people, but you sacrifice everything that is edgy or sexual. You sacrifice anything that might offend people. Now if you go to a multiplex, everything is PG-13."

"As I now move—graciously, I hope—toward the door marked Exit, it occurs to me that the only thing I ever really liked to do was go to the movies. Naturally, Sex and Art always took precedence over the cinema. Unfortunately, neither ever proved to be as dependable as the filtering of present light through that moving strip of celluloid which projects past images and voices onto a screen."

"To write a script today means working for a committee of people who know nothing about movies, as opposed, say, to real estate or the higher art of bookkeeping."

"A film is a ribbon of dreams. The camera is much more than a recording apparatus; it is a medium via which messages reach us from another world that is not ours and that brings us to the heart of a great secret. Here magic begins."

"Even more important was American influence in Europe through its music, movies, and fashion. Unlike the Soviet efforts at gaining a cultural influence, there was little that was centrally planned about this. The State Department and the CIA tried to make sure that “healthy” American films and literature were spread abroad, but their successes were limited. Instead, company marketing and consumer responses ruled the roost. The ability of US film studios and record producers to make their output inexpensive and plentiful, while Europe suffered all kinds of shortages, also gave imports an advantage. In 1947, for instance, only forty French films were made, while 340 were imported from the United States. Though the music of Elvis Presley or the movies of Marlon Brando or James Dean were not set up to be propaganda for the American way of life, young Europeans liked them, in part because of their rebelliousness. Wearing T-shirts and blue jeans merged a form of protest against convention with identifying with US movies. In the mid-1950s, American and European teenagers were more united by Brando than by NATO."

"See it Film it Change it"

"The percentage of people who actually go to a movie theater has declined from a high of 65% of the population in 1930 (before television) to about 10% over the last several decades."

"By 1990, movies were either rented or sold at much more reasonable prices directly to consumers (known as sell-through). Video rentals reached a plateau, but video sell-through sales continued to grow. By 1992, the value of video sell-through sales exceeded the domestic theatrical box office for the first time. Home video caused a significant downward shift in the box office; for instance, the domestic box office represented 80% of studio revenues in 1980, but by 1992 it decreased to no more than 25%."

"With the exception of large U.S. companies whose feature films are distributed and seen on the five continents, production from the other four leading countries generally have geographically more restricted circulation. Feature films produced in India, for instance, are popular with the Indian diaspora, as well as Afghanistan, Egypt, Nigeria and Pakistan."

"The international co-production of feature films, which involves companies from two or more countries that finance and produce films, can be considered a gateway to diversity of cultural expressions as it enables the exchange of human resources –both technical and artistic–across countries and,undoubtedly,facilitates the circulation of films across two or more film markets. In this regard, for instance, the European Convention on Cinematographic Co-production(CE, 1992) considers international co-production as “an instrument of creation and expression of cultural diversity”. It is worth noting that international co-production is a practice that started in the mid-20th century among companies from countries with major historical, cultural and/or linguistic ties. Furthermore, since the late 20thcentury, governments from wide political spectrums have been encouraging co-productions with other countries through international programmes, such as the Ibermedia Programme introduced in 1996 for the Ibero-American area. In a highly competitive and globalised market, international co-production is a way for film production companies to broaden their markets of operation."

"A key sector for analysing the diversity of the film industry is distribution. Distribution companies are directly linked to the diversity offered to potential spectators, acting in many markets and reaching diverse audiences through cinema complexes. Focusing on the distribution of feature films in theatres, the world’s most successful films were distributed and promoted by companies belonging to the U.S.majors: Buena Vista (an affiliate of the Walt Disney Company), Sony Pictures Releasing, Twentieth Century Fox, Universal Pictures, Warner Brother and Paramount Pictures. These companies have a dominant position in several countries of the world (in Latin America and Western Europe, for instance) and rule the distribution of both Hollywood blockbusters and locally-produced films that are likely to become commercial hits in their respective markets.In addition, often the U.S. majors operate in foreign markets in a coordinated fashion, to the detriment of local productions and independent distributors, as can be seen in Spain (TDC, 2006). This has a negative impact on the diversity of feature films that the markets can offer to local audiences. Thus, many feature films do not access screening slots in the theatres of their country of origin."

"In contrast with the wide-ranging dissemination at the international scale reached by U.S. productions, the distribution of feature films beyond the borders of the countries that produce them is a serious problem in regions such as Europe and Latin America. As mentioned by the European Commission when launching its ‘European Film in the Digital Era’ strategy in 2014, “the number of movies made in Europe went from 1,100 in 2008 to 1,300 in 2012, but for the most part they are only screened in the country of their production and rarely reach distribution across borders”. Therefore, the European Union has a new strategy aimed at the“need to take full advantage of the new distribution methods to drive cultural diversity and competitiveness” (EC, 2014)."

"The goods and services derived from cultural industries are, by nature, vehicles of the expression of values, customs, languages, gastronomies, etc. This is the view of the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, which states that “cultural activities, goods and services have both an economic and a cultural nature, because they convey identities, values and meanings” (UNESCO, 2005, Preamble). Since its inception, cinema has been a major vehicle for the cultural expression of nations. This has been complemented from the middle of the last century by television. Feature films –the main industrial product of the sector –can be analysed based on various characteristics: film genres, aesthetics, languages used, ideas expressed, social sectors represented, patterns of behaviour, etc."

"The Preamble of the UNESCO Convention on the Protection and Promotion of Diversity of Cultural Expressions reads, “Linguistic diversity is a fundamental element of cultural diversity” (UNESCO, 2005). Albornoz and García Leiva (2016) state that advocating linguistic diversity is an imperative for the international community, as every language reflects a one-of-a-kind vision of the world, with its own value system, its specific philosophy and its particular cultural characteristics. A language provides support to an identity and is an essential element of an irreplaceable cultural wealth. Feature films, as well as other cultural expressions, provide a channel of expression and dissemination for approximately 6,000 languages which are spoken in the world.11Asseveral studies have pointed out (Ranaivoson, 2007; UIS, 2011), diversity is a multidimensional concept. Stirling’s definition (1998, 2007) of diversity includes a combination of three components: variety, balance and disparity. Variety refers to the number of different categories defined; specifically for films, we may ask, how many languages can be identified in the cinematographic production of a country? Balance refers to the extent to which these categories are represented: what percentages of each language are used in films? And disparity refers to the degree of dissimilarity that exists between the different categories: how different are the languages used? Thus, the larger the number of categories and the more balanced and disparate the categories, the more diverse the system."

"As mentioned extensively by film industry experts, most of today’s film consumption is outside the traditional cinema circuit. Televisions, streaming media players, computers, tablets and smartphones are popular platforms for watching and enjoying feature films for a major portion of the world’s population. However, the theatrical release of a feature film continues to be a major effort vis-à-vis commercial exploitation in the rest of the film consumption windows (free-to-air and pay television, DVD, online platforms)."

"In 2012, the number of feature films greatly increased throughout the world, and the following year a new production record was hit: 7,610 movies. However, the sustained growth of global production during the 2005-2013 period has not undermined the weight of the main production countries: India, the United States, China, Japan and most Western European countries, including the United Kingdom, France, Germany and Spain. This finding, in the attempt to analyse the diversity of sources, reveals a high degree of concentration of production in the economic superpowers and in some of the most heavily-populated countries of the world. A special case in point is India, the country with the second-largest population, and the number-one film making country, which is experiencing a major growth in production. India produced 1,041 movies in 2005 to 1,724 movies in 2013. The number of feature films produced in 2013, mostly with digital technology and at multiple sites, represented over one-fifth of worldwide production. International feature film co-productions, driven by the public sector and private production companies, were common in some countries of Western Europe and the United States. France had the largest number of co-productions in the 2012-2013 biennium. Production companies view co-productions with companies from other countries as a means of taking advantage of the film making grant programmes of various countries and of extending the reach of films. Increased production does not necessarily lead to a better and larger dissemination of films. The dominant positions of the U.S. majors in many markets directly impact the diversity offered,i.e.what content reaches the screens and how. For instance, the European space, comprising countries with a prominent tradition for production, repeatedly expresses the lack of reach of its feature films across borders . Most countries have monolingual (in their respective official languages) or bilingual film production. Again, India stands out for the wide spectrum of local languages in its movies, none of which has a share over 17%. In countries with multilingual film production, there are one or several drivers for this: a historical presence of different social groups within the country and/or large migrant groups, geo-cultural proximity with companies speaking other languages, and the development of strategies for commercial penetration in new markets, among others. Dubbing policies implemented by countries are unfavourable for the recognition of languages other than those of the place where foreign films are screened."

"According to the three categories in the UIS 2014 Questionnaire on Feature Film Statistics, there is a clear pre-eminence of fiction feature films versus documentaries and animation movies. Additionally, all countries offering information on the production of fiction, animation and documentary feature films show a clear imbalance among the categories. There is a strong geographic concentration of the revenues from the commercial screening of feature films in theatres. The top 10 markets, led by the United States/Canada, China and Japan, held three-fourths of global revenues during the 2012-2013 period. China, the most heavily-populated country in the world, is seeing a sustained increase in its gross box office for feature films in theatres (in 2013, it exceeded US$3.6billion). It appears that the world’s second film market in terms of gross box office is ready to overcome, in the near future, the stagnated market of the United States/Canada. India, with average ticket prices well below those prevailing in the top revenue markets, is the top country in terms of volume of tickets sold. In 2012, Indian theatres received more theatre goers than the United States, China and Japan together. Even though there are noticeable differences between countries and inside countries at the global level during 2012 and 2013, the average price of theatre tickets continued to grow. The 2005-2013 period saw an increase of 40% in the average ticket price. The most popular feature films watched in theatres in 2012 and 2013 confirm a very high concentration of consumption of blockbusters produced (or co-produced) and distributed by U.S. majors. They are mostly action/adventure movies, some with animation techniques, targeting children and adolescents, supported by multi-million budgets and international advertising campaigns. As has been the case in recent years, mass consumption of feature films in theatres has favoured the franchises of various series and bringing to the big screen stories that were originally created as [[comics."

"The international filmmaking industry faces some shortcomings regarding diversity in its sources, some of the characteristics of films made and the majority consumption of feature films. Therefore, it is imperative to strengthen and renew some public policies and civil society strategies with the aim to strengthen diversity in (and of) the filmmaking industry. Policies should address the complex and changing relationship of the film industry with the audiovisual sector and cultural industries in general. The principle of equitable access upheld by the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions states: “Equitable access to a rich and diversified range of cultural expressions from all over the world and access of cultures to the means of expressions and dissemination constitute important elements for enhancing cultural diversity and encouraging mutual understanding.” (UNESCO, 2005: Article 2.7). Making this principle a reality involves diversifying and strengthening the fabric of feature film production centres, changing the structures governing the distribution of films at international scale, and implementing policies to encourage diversified film consumption."

"[T]here is little diversity in film consumption in Latin America, where movies produced in the United States account for at least 80% of total market share of attendance. National films in the global Top 10 are almost nonexistent in this region, with the exception of Brazil, where locally-produced films account for a 10% share of attendance. The same situation prevails in Australia and Canada, where more than 80% of the audience share views American films. Although for most countries the share of the audience viewing national films is quite low, there are notable exceptions. The Republic of Korea is the only country where the audience share of national movies accounts for the majority (54%). This could be explained by national policies that impose a quota on the distribution of national films."

"Examples of countries with diverse film markets include Morocco and Georgia. In Morocco, films from the United States represent approximately one-third of audience share. Interestingly, the audience share for foreign films (excluding American films) is 42%, which is significantly higher compared to any other country for which there is data. A similar pattern is seen in Georgia, where 50% of films viewed are foreign (non-American), followed by 27% of audience share for national movies and 24% for American movies. In some countries, the audience for national films approaches similar levels as for films produced in the United States. This is the case in France, where 41% of films viewed are national and 46% are from the United States. In the United Kingdom, the share of national movies is 36%, which is relatively high for Europe. This can be partially explained by several sequels, including the Harry Potter series, being in the national and global Top 10."

"The digitization of movie production and their exhibition in multiplexes has been one of the primary reasons that cinema has continued to attract audiences to theatres in many parts of the world. At the same time, the cinema sector has had to face the impacts of the financial crisis of 2008, which slowed down growth in many sectors of the economy."

"As has been the case throughout the 2000s, in almost all countries feature films from the United States of America (USA) (or USA coproductions in conjunction with primarily European countries) dominated the Top 30 (see Table 1) in 2010 and 2011. Almost all of these films were distributed by the six major Hollywood studios (with 50% of them released in 3D). Furthermore, the number of animated releases aimed at child-youth audiences was significant, in addition to sequels, prequels and adaptations. The rise and importance of 3D films evident between 2005 and 2011. However, many of the films that are ranked from No. 15 to No. 30 are typically nationally-produced or non-USA-produced films,mostly distributed by local companies."

"World film production continued to grow from 2005 to 2011,with a 39% increase. During this period, about 100 countries produced professional feature films for theatrical release, with an average of 5,987 feature films being produced per year, as shown in Table 3. The figures also show that there has been stagnation in the world film production since 2008, with total film production remaining at around 6,500 releases per year over the last four years for which data are available."

"When analysed at the country level, the increase in the world film production is highly dependent on the Top 10 producers which represent around 65% of world production,as shown in Table 4. The countries with the highest increases in production between 2005 and 2011 were: China (260to 584, 124.6%), the United Kingdom (106to 299, 182.1%) and the Republic of Korea (87to 206,148.3%). Other countries with significant increases were: Germany (45.2%), Spain (40.1%) and Italy (58.1%). Outside of the Top 10, several countries showed important increases although the level of production was smaller, including: Brazil (42 to 100 films, 136%), Iran (26 to 76 films, 192%), Turkey (28 to 70 films, 150%), Viet Nam (12 to 75films,525%in 2010), and Mexico (71 to 111 films, 56.3%). The level of production for the rest of the world grew at a smaller rate between 2008 and 2011."

"Nigeria has a very high number of audiovisual productions (see Map 1)–on average releasing 966 films per year between 2005 and 2011 –but they are semi-professional/informal productions, most of them almost artisanal with limited or no theatrical release. While 1,074 films were produced in 2010 in Nigeria, national movies sold only 117,563 tickets (26% of market share of that year), in a country with a population of about 160 million inhabitants."

"Countries which do not have the facilities and resources to produce films for theatrical release are using video format to reach their audiences. As shown in Table 6, Nigeria–with an average production of 1,000 movies per year –is the third largest producer in terms of volume. As a result of new technology and video production, the emergence of new film producers, such as Mauritius, has been possible. While the country did not produce any feature films before 2009, Mauritius increased its production from 19 to 30 films between 2010 and 2011."

"Analysing all films, regardless of their format of production (theatrical release or video production) provides an overview of the cinema sector worldwide. Table 7 shows that global film production has increased significantly in recent times, with total production rising from 5,735 movies in 2005 to 7,442 in 2008. Production continues to grow but at a slower pace since 2008."

"There were 7 countries that had “very high” annual film production (more than 200 feature films) between 2005 and 2011, producing on average 3,561 films yearly and representing 57% of the world’s feature films. There were 11 countries that had a “high” level of film production (between 80 and 199 feature films per year), producing on average 1,259 feature films annually. The very high-and high-level groups together accounted for 78% of global film production on average over this time period, representing the production of 4,820 films annually. The “average” production category (between 20 and 79 feature films per year)accounted for an average annual production of 16% of the world’s films. (1,013 films on average per year). Finally, one-half of countries were classified in the “low” or “very low” levels of film production. They accounted for 6% of total average annual feature films produced."

"Other countries with important increases in their box offices overthe period 2006 to 2011 include: Belarus, Romania,Ukraine and Venezuela. Several Latin American, East European and Asian markets doubled their box office during this period. Nevertheless, the majority of these countries represent small markets and the increase in some of them is explained by high inflation rates, as is the case for Argentina,Belarus and Venezuela."

"Although it may appear that ticket prices in developing countries are low, when compared with the average income and the cost of living, ticket prices in these countries are relatively high compared to developed countries: one trip to the movies with friends or family can represent almost 10% of monthly income (González, 2012)."

"As Iberoamerican expert Octavio Getino said, “Never have people watched so many movies... but mainly not in theaters” (Getino, 2012)."

"[O]ver the last several years the exhibition market in India has changed, possibly accounting for variations in the film market. The main change in the exhibition market is the multiplex (Pendakur, 2012). In India, there still is a plethora of mono screens in the southern half of the country, with an average ticket price of US$ 0.50. These screens are still the most popular for Indian moviegoers. Around 1,000 multiplexes have emerged in large Indian cities, with a ticket price of around US$3.30. These multiplexes account for most of the Indian revenues generated for Hollywood blockbusters. Nevertheless, films from USA account for no more than 7% to 10% of the Indian box office (Ernst & Young-India Film Council, 2012). Additionally, no Hollywood films are in the Indian Top 10 films."

"The difference between box office and admissions is even clearer when analysing BRIC countries (Brazil, the Russian Federation, India and China). While BRIC countries accounted for 9% to 17% of world box office, the rate for admissions was impressive, between 49% and 56%: BRIC countries accounted for one-half of global admissions (mainly, because of India) between 2006 and 2011."

"[C]ountries that had the fewest number of screens in 2007 were almost exclusively from Africa. Nevertheless, some countrieswith fewscreensin other regions still had important markets,such as China, India and the Russian Federation. Latin America also generally has a low number of screens, but two countries stood out: Bolivia (2005) and Paraguay (2006). This is a more recent situation, because until the 1970s Latin America had many screens distributed all over its territories (Getino, 2005)."

"In 2007, the USA accounted for 70% of all digital screens; by 2001, the share had dropped to 46%. The greatest growth occurred in Europe. In the 2000s, the mainstream film industry (Hollywood and multinational companies) declared that digitization of screens would reduce copy fees and other related costs, opening more theaters, penetrating territories with a low level of screens, allowing national film producers and filmmakers in developing countries to increase their market share and reinforcing cultural diversity (De Luca, 2004, 2009)."

"Over the few last decades, the rate of economic growth of the Chinese economy has been enormous compared to most,if not all,economies in developed countries. As a result, this growth has been evident in the film market, where by 2012 China became the second largest consumer of feature films in the world in terms of box office.During the same period, the USA market has faced stagnation or experienced little increase in terms of admissions. If this trend continues, China will surpass the USA as the world’s Number 1film market by 2020.The film market in China has grown four to five times faster than its GDP over the last decade (and its GDP is one of the fastest growing in the world)and the growth in the film market has been even more impressive. In fact, between 2005 and 2011, box office in China grew on average by 43% per year (50% over the 2008-2011 period), while the cinema market box office of the USA grew on average by just 2.2% annually (see Figure 5). The difference in the number of admissions is remarkable: while admissions grew on average by 15.6% annually in China between 2005 and 2011, in the USA market there was an annual average decrease of -1.4% (see Figure 6). This growth occurred despite the dramatic increase in ticket prices that occurred in China during this period. The average admission price in China multiplied 3.5 times, an increase of 253% between 2005 and 2011, whereas the average ticket price in the USA increased by only 23.8%."

"One of the reasons for the sharp increase in the number of cinema admissions in China has been the prodigious growth of its economy and the increase in the standard of living and disposable incomes of the middle class. These newly wealthy citizens can now afford to go to the cinema to enjoy both national and foreign movies. This growth has spurred the continual and rapid construction of theatres: “China is building something like 10 screens a day”, said Christopher Dodd, MPAA chairman and CEO on March 2013 (The Hollywood Reporter, 2013). And despite the tremendous increases in average ticket prices, Chinese spectators continue to fill theaters.Although the number of new multiplexes has risen steadily, China is still lacking screens (as seen in Section 3.3) in comparison to its population and market. In 2011, China had approximately 2,000 theaters and 9,286screens across the country –making it the second largest national exhibition market in the world. However, this represents only one screen per every 136,000 people. In contrast, the USA had approximately 40,000 screens in 2011,with a population of approximately 280 million, representing one screen per every 7,000 people. China will need to construct some 170,000 screens to reach the same level of screen density as in the USA."

"The Latin American film market shows contrasting situations between countries. On the one hand, there are countries that in the last decade have more than doubled the number of screens, admissions and/or box office (i.e.Brazil, Colombia, Mexico and Peru). Brazil entered the world Top 10 list with the highest admissions of any Latin American country during the last decade, while Mexico has the fifth largest number of screens in the world. On the other hand, some countries encountered modest growth or even stagnation in the number of screens available (i.e. Argentina and Uruguay)."

"Viewers in Latin America have access to about 9,756 screens. On average,there are 210 commercial releases per year. Depending on the country, between 5 and 130 national films are produced a year, primarily as a direct result of the national support received by the governments of the region over various decades. During the first decade of the 21st Century, Latin American countries produced 2,400 feature films (see Figure 8), with growth throughout each decade (on average 350 films were produced per year between 2005 and 2011). This is a sharp increase from the 1980s, when on average 230 films were produced annually or the 1990s with 90 films per year (Getino, 2005). Film production in Latin America increased partly as a direct result of the public policies developed to support the field (with the exceptions of Paraguay and a few Central American countries). These policies have been present in most of the subcontinent since the 1930s (mainly in Argentina, Brazil, Mexico and Peru). The subsequent decades saw further support in the form of subsidies, tax incentives,soft loans, prizes for quality and screen quotas (there were even state producers, state distributors and state exhibitors, mainly in Mexico from the 1940s to 1970s and in Brazil in the 1970s). In the early 1990s, most countries in the region experienced a drastic reduction in public support, affecting the national film sectors negatively. Nevertheless, in the late 1990s and early 2000s, there was a re-emergence of public policies favorable to the film sector, mainly in relation to production. The three major film-producing countries, Argentina, Brazil and Mexico,resumed their growth. During the 2000s, most Latin American countries implemented national legislation supporting the film sector. Argentina and Brazil returned to maximum production peaks with over 100 films produced annually, surpassing records set in the earlier “golden years”. Mexico also increased film production, but the country is only just reaching the number of films produced during its golden years (between 1940 and 1980), which was also about 100 annually. Other Latin American countries showed more modest increases in the number of films produced. Due to new national film policies in some of these countries, they have begun regular production of films for the first time in their history."

"Within Latin America, there is an important and hidden level of semi-professional, almost artisanal, production of feature films,especially in Bolivia, Ecuador, Peru and Venezuela. Like “Nollywood”, these films which are not released in theatres but rather circulated via street vendors or streaming on-line (mainly YouTube) are viewed by large audiences,with some titles becoming popular “hits”."

"The cinema market in Latin America has faced drastic changes over the last few decades. Up until 40 years ago, national private companies dominated the Latin American film markets, especially exhibition. Through globalization, film distribution and exhibition are now mainly controlled by Hollywood studios and the multinational companies associated with them (Guback 1969, Getino, 1984-1987,Rey, 2005). In Latin America, there are fewer numbers of movie goers: the frequency of attendance in the region is on average 0.8 movies per year per person, except in Mexico (1.7), a country that has the fifth largest exhibition market of the world. Nevertheless, box office showed an increase of 127% during the 2000s, due mainly to the constant increase in cinema ticket price: prices doubled during the last decade (due primarily to the cost of 3D screening which typically is at a premium price)."

"The number of screens in Latin America grew on average by 65% in the 2000s. This percentage was led by Mexico and to a lesser extent;Brazil and Colombia (see Figure 11). This growth took place in a context of high geographic and class concentration, in addition to the high cost of tickets –in Latin America just one family outing to the family represented the equivalent of 10% of average local monthly income. Nevertheless, Latin America still remains “under screened”, including the giant Brazil, which has only around 2,500 screens fora population of almost 200 million inhabitants,representing only 1.1screens per 100,000 inhabitants. Regardless of whether one country has more or fewer screens, the geographic concentration of the screens is extremely important in all Latin American countries. In Mexico, only 7% of cities had a screen, and in Brazil, the second largest Latin American exhibition market, only 10% of cities had a theater (González, 2011). These patterns are especially acute in digital cinema through its flagship: 3D (the vast majority of Latin American digital screens are 3D). In 2007, 19 screens were digitized in Latin America. Since 2008, especially 2009, many digital screens opened in the entire region. Nevertheless, the rate of digitization in the region remains one of the lowest in the world (22% in 2011) (see Figure 12)."

"This analysis has highlighted some unique trends in the global cinema sector. First, there is a tendency for the “global film industry” (dominated by Hollywood productions) to produce sequels, prequels and adaptations (non-original ideas) that are targeted to mass media, children and youth, resulting in a concentration of world production. Second, film production is highly concentrated with 7% of the countries with regular film production making 55% of all feature films globally. India itself produced 20% of all films worldwide. Blockbusters outside of the USA have mainly been USA-produced comedies, breaking records all over the world. National productions or coproductions that are not distributed by Hollywood major studios have had almost no circulation beyond national borders. In the period 2005-2011, world admissions dropped by 12.8%, while box office revenues rose by 27.8% (average ticket price increased by 46%, especially since the 3D boom). Market concentration is still very high; Top 10 countries represented around 75% of world box office and 85% of world admissions. The concentration for admissions slowly increased from 85% to 90% between 2005 and 2011. Similar to patterns in the world macro-economy, the BRIC group (Brazil,the Russian Federation, India and China) is increasing its market share of the world film market (both production and admissions). China is the main star of this story: based on conservative estimates, by early 2020 the Asiatic giant will surpass USA as the main film market in the world. Other regions, like Latin America , have improved their film market indicators, but they are still low (except for Brazil and Mexico) in comparison to other regions. There are many individual countries that had impressive box office growth (21 countries with increases from 102% to 556%), in comparison with admissions rises (10 countries increasing from 100% to 156%). In other words, the world film screen market is losing spectators but increasing revenues–mainly due to increased ticket prices. In the context of many large countries,such as China, the Russian Federation and India,“lacking cinema screens, the development of their cinema infrastructure could give a push to the world film market”(Miller, 2008)."

"I didn't have a problem with rejection, because when you go into an audition, you're rejected already. There are hundreds of other actors. You're behind the eight ball when you go in there."

"At the audition, your assignment is to find something new in the song. Something you've never noticed before. A breath carried over, a thought that ties the whole thing together. Then take the risk and do it."

"This list of the superhero’s “uses” —which one could lengthen substantially— demonstrates the genre’s appeal (popular, sociocultural, political), its flexible expediency for various ends. An inviting mode of representation, a "costume” easily appropriated and donned, the superhero in recent years has indeed received unprecedented (and long overdue) attention from scholars."

"Sad list, isn't it? Further proof of what I have always said: too many (male) writers seem able to think of only two things to do with female characters -- rape 'em or knock 'em up. The dead ones might be the lucky ones. At least I made Wonder Woman MORE powerful."

"...all our theories about how comics are put together are invariably about time. The duration of a panel's action and the duration between one panel and the next. We haven't added very much to the Eisner-Steranko concept of "sequential art.""

"...if the form is to say something important, rather than just involve itself in the kinetic thrill of drawn characters chasing each other, then we have to think harder."

"An illustrator is someone who takes a story and visualizes it. In a comic, the drawing is the story; it doesn’t illustrate it."

"I don't think that we should seek to define comics on a formal basis. I think that some of the best comics do not involve "sequential images" which is the basis of every formal definition of comics."

"...the concept of what comics is gets narrower as we go along. Each writer on the subject who defines comics wants to exclude something. McCloud excludes the single panel so Family Circus and Far Side are out. Blackbeard says there must be word balloons so Prince Valiant is out. Harvey says there has to be a visual-verbal balance. Somebody else says there must be no redundancy of information with words and pictures repeating each other. This is crap. Pictures have illustrated words and words have explained pictures since the beginning of time. Somebody reads a dull comic and extrapolates rules from it. Who do they think they are? There are all these people trying to be the rule-makers and the end result is bad for the art of Comics."

"The form restricts itself at every turn. For instance, the artist sits before his blank page. If his first picture is a big square one all the way across then he has severely limited his second panel to having to fit in the letterbox space along the bottom. If he divides that in two then that third panel is looking like a sad and defeated cornered animal. That's about all i see when I look at comic books now. Obviously the artist doesn't do it that way; he plans the whole page simultaneously. But it tends to read like he planned it that way, and that's all that counts."

"The syllogism that says "Comics are sequential art, Trajan's column is sequential art, therefore Trajan's column is comics" is such a glaring fallacy that I'm surprised it's gotten this far."

"...the whole small press movement...[is] the first real upheaval in this country of Comics as a genuine Art - Art being to me a thing which is a lively part of life while commenting on life - as opposed to comics as journalism-cartooning or comics as a collecting-hobby or comics as boys power fantasies."

"[t]he standards of comics include inventiveness, originality, and consistency. The best comics really are great artworks — great by the intrinsic standards of that art form."

"Her husband had been willing to indulge her affection for the comics so long as it was just her, but now their children were growing up and starting to read and he was not convinced that people having adventures in skintight costumes were altogether appropriate. His feeling was that his wife would have to stop reading it, and she was heartbroken because she had an equally strong commitment to the fictional characters she had been enjoying all these years. When you come face to face with that kind of circumstance, it has to be treated with respect. It's like singing on stage and realizing you had an impact on your audience, and using that as an excuse to do your craft better than before."

"You can go into slow motion or fast motion in a comic book in a way you can't in a movie without drawing attention to it. You can have six panels in a row where the actions are a half second apart, or you can skip years between panels and it just doesn't have the same egregious quality, where, in a movie, Peckinpah slows down the murder and it seems that the body collapse in slow motion; it seems like an entirely different thing when you do that on film and when you do that on the comics page."

"The viewer is a 'co-producer" of the comics text at a level of involvement and intensity just through the nature of the medium itself."

"...in a visual medium, a comics format … the writer works for the artist, in the same that the writer in a movie works for the director."

"In movies, television, and comics, the operative factor is what some film semiologists have taken to calling 'the gaze.' The gaze is a combination of the gaze of the viewer at the comics page, or television tube, or film screen, modulated and directed by the looks that the characters give to each other and by various objects. I look at character X who looks at situation Y (and character X) in a way that I wouldn't have before. The point, of course, is that the movie gaze, the TV gaze, and the comics gaze are three very different processes. What makes the comic book gaze the priveleged one in my estimation is that the viewer has the greatest control over the comic book gaze, greater than any of the other two. Viewers can control how far way or close to hold the page, whether to go backwards and re-gaze -- and going back in a comic book is a very different process from going back in a novel to re-read a previous paragraph or chapter."

"You know, I distrust people who 'read' comics … you don't read a comic book. You look at a comic book. While you're looking at a comic, sure, you read the words; as well, you learn to look at the panels in a certain order, in a certain way … if you start out to 'read' a comic book, you're starting out with the wrong mind-set."

"Both companies could be more judicious in pairing artists and writers for sustained periods, promoting series outside of the usual channels, and warmly engaging with fans. Instead of simply telling people to buy their books, they could instruct new audiences how. And they could listen to what new audiences say they want: diversity not just in racial, religious, or sexual terms, but also in terms of the types of stories told: Is there really any more harm in publishing a comic where Captain America has a romantic cup of coffee with his boyfriend Bucky than one where he’s a Nazi?"

"What we heard was that people didn’t want any more diversity. They didn’t want female characters out there. That’s what we heard, whether we believe that or not ... We saw the sales of any character that was diverse, any character that was new, our female characters, anything that was not a core Marvel character, people were turning their nose up against."

"The (Communist) "Daily Worker" of July 13, 1953 said that comics play the conscious role of: "...Brutalizing American youth, the better to prepare them for military service in implementing our government's aims of world domination, and to accept the atrocities now being perpetrated by American soldiers and airmen in Korea under the flag of the United Nations." This article also quotes Gershon Legman (who claims to be a ghost writer for Dr. Fredrick Wertham, the author of a recent bast against comics published in "The Ladies Home Journal"). This same G. Legman, in issue #3 of "Neurotica," published in autumn 1948, said: "The child's natural character...must be distorted to fit civilization . . . fantasy violence will paralyze his resistance, divert his aggression to unreal enemies and frustrations, and in this way prevent him from rebelling against parents and teachers . . . this will siphon off his resistance against society, and prevent revolution.""

"WE BELIEVE: Your editors sincerely believe that the claim of these crusaders . . . that comics are bad for children...is nonsense. If we, in the slightest way, thought that horror comics, crime comics, or any other kind of comics were harmful to our readers, we would cease publishing them and direct our efforts toward something else! And we're not alone in our belief. For example: Dr. David Abrahamsen, eminent criminologist, in his book, "Who Are The Guilty?" says, "Comic books do not lead to crime, although they have been widely blamed for it . . . In my experience as a psychiatrist, I cannot remember having seen one boy or girl who has committed a crime, or who became neurotic or psychotic . . . because he or she read comic books." A group led by Dr. Freda Kehm, Mental Health Chairman of the Ill. Congress of the P.T.A., decided that living room violence has "a decided beneficial effect on young minds." Dr. Robert H. Feli, director of the National Institute of Mental Health, said that horror comic do not originate criminal behavior in children . . . in a way, the horror comics may do some good . . . children use fantasy, as simulated by the "comics" as a means of working out natural feelings of aggressiveness. We also believe that a large portion of our total readership of horror and crime comics is made up of adults. We believe that those who oppose comics are a small minority. Yet this minority is causing the hysteria. The voice of the majority . . . you who but comics, read them, enjoy them, and are not harmed by them . . . has not been heard!"

"Something in his mind had snapped and he began collecting comics."

"...'comic' simply means funny, so the word is inadequate. To tack on the word 'adult' has resulted in a style of magazine suitable for only some adults, glossy comics barely containing their airbrushed breasts, leaving little room for genuine content."

"...the history of comics is mostly just a history of crap."

"I reserve the right to refuse to like a comic just because there is a girl/woman in it, or someone's decided to take a limp stab at marketing it to girls/women. (...) Push past those posters of giant titties and that one of the impossible pose where some gal is displaying her butt, crotch AND breasts, and that one where the girl looks like she's been oiled up and spanked. Push past all that, my sisters! (...) There, my sisters, under all those eye lemons and tree-killers are comics you will like. Don't hold it against your retailer if he or she is keeping the store going with chromium multi-variant oops-my-tittie-fell-out 1-to-4 short-packed speculator specials — get in there and grab that Previews and you will find something for you, and by God order it and get all your girlfriends to do the same and your store will still be in business after the superhero readers turn 18 and start reading the Mangerotica books and the speculators have left to sell their Beanie Babies to pay the rent! (...) Of course, always give your business to the store that makes it easy to get what you want, and doesn't offended your eyeballs with faux-core (as opposed to soft core) porn. Thank you."

"Justin Wadlow, a professor at the French (UPJV) in Amiens and a well-known scholar of comics, explained how books combining texts and comics as a new form of art have been used to spread deep ideas and raise awareness of social issues. He suggested that the essence of [the] Tai Ji Men culture may also be illustrated and presented to the world through these new media."

"The episodic nature of Black Jack’s medical experiments backed up by accurate medical detail, bear more resemblance to television shows such as ER or House MD than to any North American comic book; medical narratives such as these simply do not exist in the US or Canadian comic media."

"By mid-1942 nearly all comic book heroes had changed into patriotic citizens that were willing...to accept their new societal roles."

"As regards the female characters thing, I'm afraid I think it's giving male creators a bum deal. The list does read pretty shocking at first until you think of everything the male heroes have gone through, too, in terms of deaths/mutilations/etc. Granted, the female stuff has more of a sexual violence theme and this is something people should probably watch out for, but rape is a rare thing in comics and is seldom done in an exploitative way."

"Boys young and old satisfy their wish thoughts by reading comics. If they go crazy for Wonder Woman it means they're longing for a beautiful exciting girl who's stronger than they are."

"Comics speak, without qualm or sophistication, to the innermost ears of the wishful self. The response is like that of a thirsty traveler who suddenly finds water in the desert - he drinks to satiation."

"There are one or two rules of thumb which are useful in distinguishing sadism from exciting adventure in the comics. Threat of torture is harmless, but when the torture it’s self is shown it becomes sadism. When a lovely heroine is show bound to the stake, comics followers are sure that the rescue will arrive just in the nick of time. The readers wish is to see save the girl, not to see her suffer. A bound or chained person does not suffer even embarrassment in the comics, and the reader, therefore is not being taught to enjoy suffering."

"Oh yes, but not until women control men. Wonder Woman – and the trend toward male acceptance of female love power, which she represents, indicates that the first psychological step has actually been taken. Boys, young and old, satisfy their wish thoughts by reading comics. If they go crazy over Wonder Woman, it means they’re longing for a beautiful, exciting girl who is stronger than they are. These simple, highly imaginative picture stories satisfy longings that ordinary daily life thwarts and denies. Superman and the army of male comics characters who resemble him satisfy the simple desire to be stronger and more powerful than anybody else. Wonder Woman satisfies the subconscious, elaboratedly disguised desire of males to be mastered by a woman who loves them."

"Comics, they say, are not literature – adventure strips lack artistic form, mental substance, and emotional appeal to any but the most moronic of minds. Can it be that 100,000,000 Americans are morons? Possibly so; but there seems to be a simpler explanation. Nine humans out of ten react first with their feelings rather than with their minds; the more primitive the emotion stimulated, the stronger the reaction. Comics play a trite but lusty tune on the C natural keys of human nature. They rouse the most primitive, but also the most powerful, reverberations in the noisy cranial sound-box of consciousness, drowning out more subtle symphonies. Comics scorn finesse, thereby incurring the wrath of linguistic adepts."

"If you do [one] black character or a female character or an Asian character, then they aren’t just that character. They represent that race or that sex, and they can’t be interesting because everything they do has to represent an entire block of people."

"I despise the comic industry, but I will always love the comic medium."

"To my mind, this embracing of what were unambiguously children's characters at their mid-20th century inception seems to indicate a retreat from the admittedly overwhelming complexities of modern existence. It looks to me very much like a significant section of the public, having given up on attempting to understand the reality they are actually living in, have instead reasoned that they might at least be able to comprehend the sprawling, meaningless, but at-least-still-finite 'universes' presented by DC or Marvel Comics. I would also observe that it is, potentially, culturally catastrophic to have the ephemera of a previous century squatting possessively on the cultural stage and refusing to allow this surely unprecedented era to develop a culture of its own, relevant and sufficient to its times."

"Why should murder be so over-represented in our popular fiction, and crimes of a sexual nature so under-represented? Surely it cannot be because rape is worse than murder, and is thus deserving of a special unmentionable status. Surely, the last people to suggest that rape was worse than murder were the sensitively reared classes of the Victorian era … And yet, while it is perfectly acceptable (not to say almost mandatory) to depict violent and lethal incidents in lurid and gloating high-definition detail, this is somehow regarded as healthy and perfectly normal, and it is the considered depiction of sexual crimes that will inevitably attract uproars of the current variety."

"I haven’t read any superhero comics since I finished with Watchmen. I hate superheroes. I think they’re abominations. They don’t mean what they used to mean. They were originally in the hands of writers who would actively expand the imagination of their nine- to 13-year-old audience. That was completely what they were meant to do and they were doing it excellently. These days, superhero comics think the audience is certainly not nine to 13, it’s nothing to do with them. It’s an audience largely of 30-, 40-, 50-, 60-year old men, usually men."

"I think it’s a rather alarming sign if we’ve got audiences of adults going to see the Avengers movie and delighting in concepts and characters meant to entertain the 12-year-old boys of the 1950s."

"My main point about films is that I don't like the adaptation process, and I particularly don't like the modern way of comic book film adaptations, where, essentially, the central characters are just franchises that can be worked endlessly to no apparent point. In most cases, the original comic books were far superior to the film."

"I stopped reading the comics page a long time ago. It seems that whoever is in charge of what to put on that page is given an edict that states: “For God’s sake, try to be as bland as possible and by no means offend any one!” Thus, whenever something like Doonesbury would come along, it would be continually censored and, if lucky, eventually banished to the editorial pages. The message was clear: Keep it simple, keep it cute, and don’t be challenging, outrageous or political. And keep it white! It’s odd that considering all the black ink that goes into making the comics section (and color on Sundays) that you rarely see any black faces on that page. Well, maybe it’s not so odd after all, considering the makeup of most newsrooms in our country. It is even more stunning when you consider that in many of our large cities like New York, Los Angeles, or Chicago where the white population is barely a third of the overall citizenry, the comics pages seem to be one of the last vestiges of the belief that white faces are just…well, you know…so much more happy and friendly and funny! Of course, the real funnies are on the front pages of most papers these days."

"The British novel has become so thin-blooded and out of touch with anything. And television drama's been pretty much emasculated. Comics is one place where no one's looking. And you get this work out, which would once have been some bizarre film by Lindsay Anderson, but now there'd be no possible way of getting that funded. Comics' marginalisation allows you to do a lot that you wouldn't be able to do otherwise."

"As for all this talk I keep hearing about how 'ordinary people' can't handle the weird layouts in comics - well, time for another micro-rant, but that's like your granddad saying he can't handle all the scary, fast-moving information on Top of the Pops and there's really only one answer. Fuck off, granddad. If you're too stupid to read a comic page, you shouldn't be trying to read comic books and probably don't."

"The comics medium is a very specialized area of the Arts, home to many rare and talented blooms and flowering imaginations and it breaks my heart to see so many of our best and brightest bowing down to the same market pressures which drive lowest-common-denominator blockbuster movies and television cop shows. Let's see if we can call time on this trend by demanding and creating big, wild comics which stretch our imaginations. Let's make living breathing, sprawling adventures filled with mind-blowing images of things unseen on Earth. Let's make artefacts that are not faux-games or movies but something other, something so rare and strange it might as well be a window into another universe because that's what it is."

"All the comics are sigils. "Sigil" as a word is out of date. All this magic stuff needs new terminology because it's not what people are being told it is at all. It's not all this wearying symbolic misdirection that's being dragged up from the Victorian Age, when no-one was allowed to talk plainly and everything was in coy poetic code. The world's at a crisis point and it's time to stop bullshitting around with Qabalah and Thelema and Chaos and Information and all the rest of the metaphoric smoke and mirrors designed to make the rubes think magicians are "special" people with special powers. It's not like that. Everyone does magic all the time in different ways. "Life" plus "significance" = magic."

"We love our superheroes because they refuse to give up on us. We can analyze them out of existence, kill them, ban them, mock them, and still they return, patiently reminding us of who we are and what we wish we could be."

"Before being able to comment on the tragedies which have befallen only female comic characters as any kind of a trend, I would need to see a similar list of the kinds of tragedies which have befallen MALE characters in direct proportion to the number of female characters vs. male which exist throughout the entire industry. (...) As a writer with at least over 500 story credits (I stopped counting. Math isn't my strong suit), I will say that professionally speaking, I believe in treating ALL my characters, male, female, black, white or Kryptonian with equal measure respect and abuse. Basically, you have to respect them enough to abuse them in order to see how they will handle the adversity. Remember, monthly comics publishing is akin to a soap opera with more punches thrown. Characters HAVE to be made to endure both physical and emotional adversity in order for the lifeblood of the genre -- i.e. MONTHLY serial stories -- to work. When you've done more work on the subject, I'd be glad to discuss your results."

"Comics are an international language, they can cross boundaries and generations. Comics are a bridge between all cultures."

"The children face problems such as violence, abuse, suicide etc. that medicine can not heal. It will never help these children psychologically and be his support ...? Even when they are in difficulty, in principle they do not speak with adults, or confide about their true intentions. However, expect some serious messages from adults. I will continue to send messages through manga. Children avoid them what force or what they want to impose anything. That is why I will continue to look for those things that [...] inspire their hearts."

"The new readers have mentality, fashions, feelings completely different from those of previous readers. Should I draw comics following my first readers in their growth? Or should I stop doing the cartoonist? ... More or less every three years a cartoonist for children is cornered. I, too, every three years, living a crisis. So I decide and I get back to work for my new readers as if they were the first. ... This is why I am certain that the good work that will draw able to make happy readers of all time."

"The science fiction and manga readers had the same ... Most fiction writers then had had some experience in the comic and some of it had even been absorbed completely ... I can not understand why those who love science fiction also loves the manga and vice versa. There are two kinds characterized by a biting satire and at worst are called "extravagant". ... Both are aimed toward the future, and therefore contain romantic adventures for young people."

"I am convinced that comics should not only make people laugh. For this in my stories found tears, anger, hatred, pain and end not always happy."

"Anyone who reads comics can tell you, every main character has an origin story -- the fateful and usually expectations sequence of events that made them who they are."

"As for some characters being dead and then alive again -- that happens to both genders in comics. Look at Wonder Man. The thing that, to my mind, separates the male and female characters are the sex crimes. Only the female characters are victims of sex crimes; male characters are never subjected to that. (There may be one or two exceptions when the male character was sexually abused as a child, but that's about it.) It is the number and frequency of THAT which troubles me. (...) A female soldier in battle may suffer wounds; that's different than a woman being stalked, kidnapped, and having violence done to her in civilian life. The former incurs the physical damage because of her occupation; the latter, strictly because of her gender. A female cop may be shot because she is a cop, not because she is a female. That, to me, is part of the difference."

"Of course, to work alone is both harder and easier. There's nothing fabulous about drawing comic books. When you finish, you're relieved and happy, but it's the middle of the night and there is no one to share your joy with. With filmmaking you have a party with your crew and then the premiere. All that stuff you miss when you just draw manga. But there are drawbacks to filmmaking too: sometimes it's really difficult to get your ideas across to your crew."

"After World War II readership dwindles for popular superhero titles, such as Superman, Wonder Woman, and The Spirit, and many comics turn to gory, true-life stories, or tales of horror and the supernatural. E.C. Comics' Vault of Horror, Crypt of Terror, and Haunt of Fear cram their pages with severed heads, drug use, and graphic violence. Some of the most popular of these extreme stories come from the pen of comic artist Jack Cole. Throughout the decade, attacks against the violent comics mount. Citizens' groups and religious organizations pressure publishers and news dealers to drop the most offensive lines. Newspaper editorial pages and national magazines debate the influence of comics on the young. In 1954 the U.S. Senate Subcommittee on Juvenile Delinquency holds hearings on whether comic books inspire juvenile delinquency. A lead witness, psychologist Dr. Frederick Wertham, testifies that comics "create a mental readiness for temptation" and create "an atmosphere of deceit and cruelty" for children. He even attacks Superman for "arousing fantasies of sadistic joy in seeing others punished while you yourself remain immune." E.C. Comics publisher William Gaines speaks in the comics defense, emphasizing his stories' endings, in which the criminals always pay for their crimes. "Good taste" is his only criterion. Senator Estes Kefauver asks if an E.C. Comics' cover displaying a woman's severed head and a bloody axe is Gaines' idea of good taste. Backed into a corner, Gaines boldly answers 'yes.' The exchange makes the front page of the next day's New York Times."

"PBS, “The Comic Book Code”, Culture Shock: Flashpoints."

"It's a pretty scary list, scary mostly for what it says about (male) comics creators. What I think about this is the guys have good intentions, to use more female characters, and they try consciously to make them strong and positive role models and all that good stuff, but unconsciously it's very hard for many men to see women as something other than victims. (...) And where it comes from in many men is that men are real and women are vehicles for men's needs. One of those needs is to feel strong emotions such as grief, anger, pain, maturity. There are any number of movies and books in which a weak man becomes a hero, or faces up to life, because a woman has been raped or murdered or has committed suicide. Did the writer realize he was (once more) victimizing women? (...) I just checked out the web site after all, to see the reactions of (some of) the other creators. It was interesting to see how many of the men felt called on to defend (or apologize for) their own murdered female characters. You know, I assume, of the point made by people like Trina Robbins that the powers of female characters in the '60s showed a good deal about the male creators-- a "girl" who turns invisible, another who makes herself tiny and buzzes around men annoyingly (when she's not shopping)..."

"Whether or not they know how to say it, superheroes don't kill because they believe the system needs help, but isn't irreparably broken. We know this for two reasons: one, they talk about it so dang much. Fixing Gotham. Saving Hell's Kitchen. And two: If they didn't believe the system was ultimately fixable and desirable, they wouldn't be punching criminals and corrupt officials while befriending the good cops and lawyers. They'd be tearing that system down. They'd be Nolan's Two-Face, Moore's V, they'd be Ra's al Ghul or Magneto. They'd be the Punisher."

"I think it's sad and terrible. I think that too many creators got on the "Bad Girl" bandwagon and did nothing but pander and exploit their own creations. To be honest, many creators that I've talked to solely created those characters to be exploited and exploitative. Now mind you I don't see this as a gender thing as much as I see it as a genre thing. Everybody is out for the quick buck and too many are too lazy to try to come up with something original. I know it's scary but if tomorrow's hot comics are about one-legged Mongolian dwarfs, than you can be sure that more than one respected creator will be jumping all over the concept but will claim to be giving it "their spin." (...) The worst news is that it's a million times worse in other parts of the entertainment field, mainly because there is more money involved and fewer morals."

"Female comic book characters are often treated as secondary to the main male character whom they assist in their current endeavour. They are often transformed into the Other, objects acted upon by the male character for his own ends through sub-par plot writing, as evidenced by such tropes as the ‘damsel-in-distress’. There have been a few characters treated as active subjects capable of continued growth. X-Men featured both Kitty Pryde and Jubilee as young female characters with complex emotions and desires. Kitty’s desire to be treated as an adult is blatantly expressive of Levinas’ concept of recognition. Their costumes, while occasionally sexualized, are overall more expected with elements that can be loose fitting and functional over showing off their sexuality. The interesting problem is that both of these characters are very young; teenagers in fact. By placing them below the legal and moral age of consent, the publishers essentially free themselves from the expectation of sexualizing them for their readers. They fit into an Otherness that shields them in a way similar to Haraway’s cyborg."

"If I were a better artist, I'd be a painter, and if I were a better writer, I'd write books — but I'm not, so I draw cartoons!"

"Stan Lee was the first to do a "longform" comic book with a continuing story line, and I wanted to do for Saturday morning TV exactly what Stan did for comics in the sixties."

"When it comes to heroes of color in comic books such as Miles Morales, Semper's fine with it. But what he really cares more about is giving black creators more attention. "Let them create what they want to," he says. "It doesn't necessarily mean having a black face behind the mask, which is great. But let's instead turn to a black creator and say, 'What do you want to make?' Black creators matter, and that's the thing that I think is more important.""

"I'd chalk most of what's on your list up to lame writing. In desperate search of drama, and unable to obtain it any other way, some writers will resort to obvious emotional triggers/easy pickin's. You can always get a bang by killing Aunt May, or for that matter, Superman. The biggest crime is that many of these stories are unfolded badly, baldly and pathetically, by writers who don't have a clue. People looking for Freudian motives, i.e., hatred of Mother, etc., are wasting their time. Most of these writers sweated cannonballs trying to think of something SO SHOCKING that it would evoke a response from readers, and violence to women was the most horrifying thing they could come up with. Usually, the response to these badly told tales is boredom. Sometimes, they succeed in mobilizing folks like you, who wonder if these writers are sick. Nah. They just suck."

"I came to comic books through Heavy Metal magazine. I was into fantasy art when I was a youngun, and my mom used to buy me Heavy Metal not really realizing it was an adult illustrated fantasy magazine, thought it was just cute and never opened it, thank god. I'm like a ten-year-old or younger at the time, and she would say things like, "You know this is quite a provocative cover." I'd say, "Yeah, I don't know." She'd say, "Huh, okay." So what happened is my aesthetic got warped pretty early. I would get comic books for Christmas and stuff from my mother--X-men or whatever--and I would say, "No one has sex or gets killed in this. It's not that exciting. It's not really doing it for me." That was disturbing to her, I could tell."

"It is as important a serious piece of work as Strindberg or Ibsen. You don’t shortchange the work because it is a comic book franchise for a studio. I think entertaining is a serious business and shouldn’t be taken half-heartedly."

"When someone asks me, 'Why do you write comics?' I tell them, for the same reason I write editorials, essays, and articles; the same reason I give speeches; the same reason I appear on TV programs, and give interviews. Same message; different forum. There is no universal forum, so the more outreach we can do, the better the chance of forming coalitions."

"I think it generally means killing female heroes is supposed to elicit more emotions from readers than killing male readers. (...) I think the wholesale slaughter is because there's a lot of writers who think all major character motivation is made by killing folk and women characters are easier to kill than male characters since so few of them are major heroes on their own. (...) I fear, that most boys want to read stories about big muscled guy heroes showing off than gal heroes. They want the girl heroes there in the background, and even important to books, but they rarely if ever buy a book starring a female. Younger boys I think are frightened to some degree by the overly muscled women even while they may find a sexual delight in them."

"Having always created lots of female characters, and doing some good work on them, I think, by making them all individuals (whether someone liked the Titans or not, Starfire, Wonder Girl and Raven were not in any way the same person in different latex costumes), I find most female heroes that other writers do are simply cookie-cut outs. Since a very few of these are anything special, it's easy to knock them off. Acknowledging that does not condone it. It merely explains it."

"It is a crucial mistake, a snob's error, to think that illustrated stories aimed at a juvenile audience automatically lack a storyteller's genius. Indeed, since juvenile stories need to be stripped down for an inexperienced audience to understand, some approach the elegant simplicity of mythology."

"The Chinese Communist Party will not only prohibit comics that support democracy or “separatism” in Taiwan, Hong Kong, Xinjiang, and Tibet but will also ban what it will perceive as promotion of religious movements banned as ', superstition, or “illegal” religion."

"Crimes shall never be presented in such a way as to create sympathy for the criminal, to promote distrust of the forces of law and justice, or to inspire others with a desire to imitate criminals."

"If crime is depicted it shall be as a sordid and unpleasant activity."

"Policemen, judges, government officials, and respected institutions shall never be presented in such a way as to create disrespect for established authority."

"Criminals shall not be presented so as to be rendered glamorous or to occupy a position which creates a desire for emulation."

"In every instance good shall triumph over evil and the criminal punished for his misdeeds."

"Scenes of excessive violence shall be prohibited. Scenes of brutal torture, excessive and unnecessary knife and gunplay, physical agony, the gory and gruesome crime shall be eliminated."

"No comic magazine shall use the words "horror" or "terror" in its title."

"All scenes of horror, excessive bloodshed, gory or gruesome crimes, depravity, lust, sadism, masochism shall not be permitted."

"All lurid, unsavory, gruesome illustrations shall be eliminated."

"Inclusion of stories dealing with evil shall be used or shall be published only where the intent is to illustrate a moral issue and in no case shall evil be presented alluringly, nor so as to injure the sensibilities of the reader."

"Scenes dealing with, or instruments associated with walking dead, torture, vampires and vampirism, ghouls, cannibalism, and werewolfism are prohibited."

"Profanity, obscenity, smut, vulgarity, or words or symbols which have acquired undesirable meanings are forbidden."

"Nudity in any form is prohibited, as is indecent or undue exposure."

"Suggestive and salacious illustration or suggestive posture is unacceptable."

"Females shall be drawn realistically without exaggeration of any physical qualities."

"Illicit sex relations are neither to be hinted at nor portrayed. Rape scenes, as well as sexual abnormalities, are unacceptable."

"Seduction and rape shall never be shown or suggested."

"Sex perversion or any inference to same is strictly forbidden."

"Nudity with meretricious purpose and salacious postures shall not be permitted in the advertising of any product; clothed figures shall never be presented in such a way as to be offensive or contrary to good taste or morals."

"RINGGENBERG: Well, given that the Comics Code expressly forbid the use of the words Weird, Horror and Terror, did you feel that your company was being particularly targeted?"

"RINGGENBERG: Let's jump ahead a little bit, to the New Direction comics. In Impact #4 you had a story called "The Lonely One", which was about prejudice against Jews. The Jewish in the story had a very bland name. It was "Miller"."

"Chief Counsel Herbert Beaser asked: "Then you think a child cannot in any way, shape, or manner, be hurt by anything that the child reads or sees?""

"RINGGENBERG: Do you think there are any limits about what should be published in a comics format?"

"In discussions on pornography, a lot depends on the very definition of what is considered to be “pornographic” material. Pornography may be defined as (a) a moral wrong, (b) a moral good or (c) a non-moral issue. Thus, “the right to pornography” (as a “liberty”, not as a “claim-right”) may either be argued “because” it is amoral or non-moral good, or “although” it is a moral wrong. But whether one relates the notion of pornography intrinsically to (the showing/describing of) sexual acts, considered to be morally reprehensible, or uses a morally neutral or positive definition, one cannot escape the task of arguing what exactly makes (some or all) pornography a moral wrong or good."

"I once stole a pornographic book that was printed in Braille. I used to rub the dirty parts."

"Pornographic sex is a kind of sex that can be described. Which told you something, he felt, about pornography, and about sex. During Keith's time, sex divorced itself from feeling. Pornography was the industrialization of that rift."

"In this connection we may refer to fornicatory acts effected with artificial imitations of the human body, or of individual parts of that body. There exist true Vaucansons in this province of pornographic technology, clever mechanics who, from rubber and other plastic materials, prepare entire male or female bodies, which, as hommes or dames de voyage, subserve fornicatory purposes. More especially are the genital organs represented in a manner true to nature. Even the secretion of Bartholin's glans is imitated, by means of a "pneumatic tube" filled with oil. Similarly, by means of fluid and suitable apparatus, the ejaculation of the semen is imitated. Such artificial human beings are actually offered for sale in the catalogue of certain manufacturers of "Parisian rubber articles.""

"Sexual drives are core aspects of human functioning, but the quantity and quality of sexual behaviors show high variability across individuals. Pornography use has become a normative behavior among adults, and individuals show differences in quantity/frequency measures of consumption. Considering the broad spectrum of “normal” sexual behaviors and the finding that the number of people with NPHFU is 3–6 times larger than the number with PHFU, pornography use may be linked to adverse health measures in a minority of adults."

"Pornography has been so thickly glossed over with the patina of chic these days in the name of verbal freedom and sophisication… Part of the problem is that those who traditionally have been the most vigorous opponents of porn are often those same people who shudder at the explicit mention of any sexual subject… There can be no equality in porn, no female equivalent, no turning of the tables in the name of bawdy fun. Pornography, like rape, is a male invention, desgined to dehumanize women… Pornography is the undiluted essence of anti-female propaganda."

"Listen, I'm no social scientist and haven't done a survey. I don't pretend to know what John Q citizen thinks about this. But I've lived in prison for a long time now and I've met a lot of men who were motived to commit violence just like me. And without exception, every one of them was deeply involved in pornography. Without question, without exception. Deeply influenced and consumed by an addiction to pornography."

"Those of us who are, who have been so much influenced by violence in the media, in particular pornographic violence, are not some kinds of inherent monsters. We are your sons and we are your husbands. And we grew up in regular families. And pornography can reach out and snatch a kid out of any house today. It snatched me out of my home twenty, thirty years ago."

"...well meaning decent people will condemn [the] behavior of a Ted Bundy while they're walking past a magazine rack full of the very kinds of things that send young kids down the road to be Ted Bundys."

"Pornography consists in removing real or simulated sexual acts from the intimacy of the partners, in order to display them deliberately to third parties. It offends against chastity because it perverts the conjugal act, the intimate giving of spouses to each other. It does grave injury to the dignity of its participants (actors, vendors, the public), since each one becomes an object of base pleasure and illicit profit for others. It immerses all who are involved in the illusion of a fantasy world. It is a grave offense. Civil authorities should prevent the production and distribution of pornographic materials."

"Horror and pornography are the only two genres specifically devoted to the arousal of bodily sensation. They exist solely to horrify and stimulate, not always respectively, and their ability to do so is the sole measure of their success: they 'prove themselves upon our pulses""

"It was Raimondi who created the images for the first work of printed pornography, a book called "I Modi" (“The Positions” or “The Ways”), also known as "The Sixteen Pleasures" (or, if you’re into Latin, "De omnibus Veneris Schematibus"). As per the title, the book was built around engravings of 16 sexual positions, based on a lost series of paintings by Giulio Romano, Raphael’s pupil, which he had painted for Federico II Gonzaga, to decorate and provide inspiration at his Palazzo Te in Mantua (destroyed in 1630, during the War of Mantuan Succession)."

"...pornography is the orchestrated destruction of women's bodies and souls; rape, battery, incest, and prostitution animate it; dehumanization and sadism characterize it; it is war on women, serial assaults on dignity, identity, and human worth; it is tyranny. Each woman who has survived knows from the experience of her own life that pornography is captivity–the woman trapped in the picture used on the woman trapped wherever he's got her."

"[I]n the male sexual lexicon, which is the vocabulary of power, erotica is simply high-class pornography: better produced, better conceived, better executed, better packaged, designed for a better class of consumer. As with the call girl and the streetwalker, one is turned out better but both are produced by the same system of sexual values and both perform the same sexual service."

"Pornography is used in rape - to plan it, to execute it, to choreograph it, to engender the excitement to commit the act."

"The pornographers actually use our bodies as their language. We are their speech. . . . Protecting what they 'say' means protecting what they do to us, how they do it. It means protecting their sadism on our bodies, because that is how they write: not like a writer at all; like a torturer."

"Men characterize pornography as something mental because their minds, their thoughts, their dreams, their fantasies, are more real to them than women's bodies or lives; in fact, men have used their social power to characterize a $10-billion-a-year trade in women as fantasy."

"Pornography is the essential sexuality of male power: of hate, of ownership, of hierarchy; of sadism, of dominance.""

"Pornography incarnates male supremacy. It is the DNA of male dominance. Every rule of sexual abuse, every nuance of sexual sadism, every highway and byway of sexual exploitation, is encoded in it."

"Everyone knows that child pornography is bad because it's been demonstrated over and over that people who look at that stuff end up acting it out—and really destroy people's lives. That's beyond the unconscionably cruel exploitation of the children involved. Other forms of pornography are harmful for a similarly oft-repeated reason: Pornography makes women into objects of desire rather than real people. We want to have relationships between person and person, not person-to-object."

"Monks, these two extremes ought not to be practiced by one who has gone forth from the household life. (What are the two?) There is addiction to indulgence of sense-pleasures, which is low, coarse, the way of ordinary people... and there is addiction to self-mortification, which is painful, unworthy, and unprofitable. Avoiding both these extremes, the Tathagata (the Perfect One) has realized the Middle Path; it gives vision, gives knowledge, and leads to calm, to insight, to enlightenment and to Nibbana."

"Peter Griffin: What's the difference between art and pornography... a government grant!"

"In conjunction with prior literature, we conclude that there is little or no evidence of an association between mere pornography use and ED, consistent evidence of an association between self-reported problematic use and ED cross-sectionally, and no evidence of causal links between any pornography variables and ED."

"In the United States, Internet pornography use is a common behavior that has risen in popularity in recent years. The present study sought to examine potential relationships between pornography use and well-being, with a particular focus on individual perceptions of pornography use and feelings of addiction. Using a large cross-sectional sample of adults (N = 713), perceived addiction to Internet pornography predicted psychological distress above and beyond pornography use itself and other relevant variables (e.g., socially desirable responding, neuroticism). This model was replicated using a large cross-sectional sample of undergraduates (N = 1,215). Furthermore, a 1-year, longitudinal follow-up with a subset of this sample (N = 106) revealed a relationship between perceived addiction to Internet pornography and psychological distress over time, even when controlling for baseline psychological distress and pornography use. Collectively, these findings suggest that perceived addiction to Internet pornography, but not pornography use itself, is uniquely related to the experience of psychological distress."

"In 2019, my colleagues and I published a review of over 130 scientific studies of pornography use and motivation. We found that the most common reason people report for why they view pornography is sexual arousal. Research is abundantly clear that the majority of time that pornography is used, it is used as a part of masturbation."

"Despite the fact that, prior to COVID-19, 17 states introduced or passed legislation calling pornography use a public health crisis, public health professionals have argued that it really is not one, and I tend to agree. COVID-19, on the other hand, certainly is a public health crisis."

"Using an online sample of participants in committed relationships, support was found for a moderated mediation model in which depression mediated the relationship between pornography use and relationship satisfaction, and this indirect effect was moderated by level of moral disapproval. Results indicate that, among consumers of pornography, their level of moral disapproval exacerbates adverse intra- and interpersonal outcomes such as distress and decreased relationship satisfaction. These results extend the empirical literature that examines the conditional effects of moral disapproval of pornography use to relational outcomes."

"Pornography, it seems to me, is no different from war films or propaganda films in that it tries to make the visceral, horrific, or transgressive elements of life consumable. Propaganda is far more pornographic than a home video of two people fucking."

"The oppressive measures on pornography by the Korean government are totally insane... It is actually seen that it oppresses masculinity and that it distorts the essentials. It is all done by the Ministry of Gender Equality and women’s organizations led by Korean feminists."

"Though watching porn may seem degrading to some women, the fact is that it's one of the few jobs for women where you can get to a certain level, look around, and feel so powerful, not just in the work environment but as a sexual being. So, fuck Gloria Steinem."

"To this day, I can't watch my own sex scenes."

"In this study, we examined the unique contribution of pornography consumption to the longitudinal prediction of criminal recidivism in a sample of 341 child molesters. We specifically tested the hypothesis, based on predictions informed by the confluence model of sexual aggression that pornography will be a risk factor for recidivism only for those individuals classified as relatively high risk for re-offending. Pornography use (frequency and type) was assessed through self-report and recidivism was measured using data from a national database from the Royal Canadian Mounted Police. Indices of recidivism, which were assessed up to 15 years after release, included an overall criminal recidivism index, as well as subcategories focusing on violent (including sexual) recidivism and sexual recidivism alone. Results for both frequency and type of pornography use were generally consistent with our predictions. Most importantly, after controlling for general and specific risk factors for sexual aggression, pornography added significantly to the prediction of recidivism. Statistical interactions indicated that frequency of pornography use was primarily a risk factor for higher-risk offenders, when compared with lower-risk offenders, and that content of pornography (i.e., pornography containing deviant content) was a risk factor for all groups. The importance of conceptualizing particular risk factors (e.g., pornography), within the context of other individual characteristics is discussed."

"The current study adopted a participant-informed, “bottom-up,” qualitative approach to identifying perceived effects of pornography on the couple relationship. A large sample (N = 430) of men and women in heterosexual relationships in which pornography was used by at least one partner was recruited through online (e.g., Facebook, Twitter, etc.) and offline (e.g., newspapers, radio, etc.) sources. Participants responded to open-ended questions regarding perceived consequences of pornography use for each couple member and for their relationship in the context of an online survey. In the current sample of respondents, “no negative effects” was the most commonly reported impact of pornography use. Among remaining responses, positive perceived effects of pornography use on couple members and their relationship (e.g., improved sexual communication, more sexual experimentation, enhanced sexual comfort) were reported frequently; negative perceived effects of pornography (e.g., unrealistic expectations, decreased sexual interest in partner, increased insecurity) were also reported, albeit with considerably less frequency. The results of this work suggest new research directions that require more systematic attention."

"Pornography is a direct denial of the power of the erotic, for it represents the suppression of true feeling. Pornography emphasizes sensation without feeling."

"But the most obscene American phenomenon of all is the growth of commercialized sex and hard- and soft-core pornography. In the last decade, hardcore film and print porn, which features perversion, sadism, and masochism, has become a billion dollar business. It is a business which is not only tolerated, but defended by the press in the sacred name of “freedom of the press.” One would find it easier to believe in this noble reason for defending the filth that is flooding the nation if the newspapers did not reap such handsome profits from advertising and reviewing porn. In my view, newspaper publishers who carry X-rated ads are no better than pimps for the porn merchants. Billy Graham may have been exaggerating when he said “America has a greater obsession with sex than Rome ever had.” But he was not exaggerating very much."

"Men may buy pornography but women pay for it – in terms of exploitation, rape, violence, and a society that sees them as disposable sexual objects."

"Pornography? I've been looking at it all my life and it hasn't affected me anything."

"Before the advent of the internet and sexual videos, preadolescent and adolescent boys plotted a secret acquisition of Playboy magazines. They snuck peeks while adults weret watching and hid magazines under beds, in tree forts, and buried them in closets. Adolescent boys have always been fascinated with sex and nudity because curiosity is a part of their emerging sexuality. Such behavior is understandable, if not to be encouraged. But what might have titillated teenage boys when we were young is tame compared to what is available to them now. Women in Playboy magazines twenty or thirty years ago were alone. While they stared seductively at the viewer, they were not engaged in a sexual act. But Playboy over the last few decades has been nudged aside by more graphic magazines and other media. In 1985, 92 percent of adult males had a Playboy magazine by age fifteen. Today the average age of a boy's first exposure to pornography is eleven, and where he might once have seen only a naked woman, now he is much more likely to view sex acts between partners. Nearly half of boys between the third and eighth grades have visited Internet sites with "adult content." The more graphic the content, the more severe the trauma it inflicts on our boys. And we shouldn't fool ourselves into thinking that it is not traumatic. Pornography warps the natural development of sexuality in boys. It can lead them down paths of perversity that, in their normal development, they would never have otherwise considered. Young boys who view pornography are having their morality, their sense of what is acceptable, shaped by it. And the Internet is full of seducers ready to prey on them, including sexual predators. The problem isn't that many young boys seek pornography out of curiosity, but that pornography pops up at them unawares and drags them in."

"Research has shown that viewing pornography can be quite disturbing to boys and that viewing explicit sex changes the way boys behave sexually. For example, viewing sexual material (not just pornography) has been shown to make college students significantly more accepting of the use of aggression against women, both in a sexual and nonsexual manner. And contrary to what one might think, studies have shown that when college students recall memories of sexual media their memories are overwhelmingly negative. Their responses include (from most common to least common): disgust, shock, embarrassment, anger, fear, and sadness. Interestingly, sexual response to those viewings was very low."

"An overwhelming majority of parents I encounter shake their heads and smirk when discussing boys and sexual media. "Come on," they quip, "it's just sex after all. They're all interested; they're all going to try it." Such comments I'm afraid, reveal a profound ignorance about sex and boys. If we were truly interested in letting boys be boys, we would let them be just that- boys, not voyeurs lured into a dark underworld of pornography. If pornography did not exist, boys would not be out there creating it. It is adults who thrust it upon them. Sex is a big deal for boys. They are not naturally emotionally dull human beings, Boys are feeling, thinking, and spiritual beings, and a healthy sexuality is one that grows within that well-rounded framework. A healthy sexuality is not exercised too young, it is not artificially aroused and diverted, and it is not promiscuous. And deep down our boys know this, but we allow them to be pressured by the pornographers of pop culture. We shouldn't."

"I saw no reason why you couldn't create a work of pornography that adhered to all the same standards as the best art or literature. The big difference between art and pornography is that art, at its best, makes you feel less alone. You see a painting or read a piece of writing that expresses a thought that you had but didn't express, and you suddenly feel less alone. Pornography, on the other hand, tends to engender feelings of self-disgust, isolation and wretchedness. I wanted to change that."

"Pornography is such a degraded genre with absolutely no standards. It doesn’t serve any function other than to make people feel wretched, ashamed and alone. It reinforces our loneliness and our wretched human misery. And it shouldn’t."

"Pornography is the theory, and rape is the practice."

"But fantasy kills imagination, pornography is death to art."

"Pornography does not directly or imminently lead to death, infectious disease morbidity, property destruction, or population displacement. Research suggests that there may be adverse health consequences of pornography use for some, no substantial consequences for the majority, and positive effects for others. For example, for the minority predisposed to perpetrate sexual violence, viewing violent pornography may exacerbate risk. Additionally, individuals who frequently view pornography portraying risk behaviors (e.g., condomless sex) may be more likely to engage in them. Research on how pornography affects the cohesion and fidelity of relationships and sexual satisfaction is mixed, but the majority of users do not experience substantial problems. Importantly, death, infection, property destruction, and population displacement are not resulting from pornography use. And for some, pornography use is associated with health-promoting behaviors, including increased intimacy, “safer” sexual behaviors (e.g., solo masturbation), and feelings of acceptance."

"Calling something a “public health crisis” when it is not demonstrably so may result in unwarranted policy or funding shifts. For example, government agencies may spend money to convene experts for high-level meetings or require businesses and individuals to comply with unwarranted regulations. Moreover, pathologizing any form of sexual behavior, including pornography use, has the potential to restrict sexual freedom and to stigmatize, which is antithetical to public health. If the public health workforce wants to save its power to mobilize people when an acute threat is imminent, reserving the phrase “public health crisis” for strategic, select times is advisable."

"The story begins in the 1920s, when the Bolsheviks turned what was once the Rumyantsev arts museum into the country’s national library. As the newly named Lenin Library began amassing new literature, it also opened a rare book department to house compromising materials acquired primarily from confiscated noble libraries. One of the most stunning items seized from an unknown owner is The Seven Deadly Sins, an oversized book of engravings self-published in 1918 by Vasily Masyutin, who also illustrated classics by Pushkin and Chekhov. Among its depictions of gluttony is a large woman masturbating with a ghoulish smile. Before the revolution, it was fashionable among the upper classes to assemble so-called knigi dlya dam (Ladies’ Books) – a kind of bawdy scrapbook. An ostentatious leather-bound album with Kniga Dlya Dam embossed in gold on the cover opens to reveal a Chinese silk drawing of an entwined couple. Further on, dozens of engravings show aristocratic duos fornicating in sumptuously upholstered settings. Erotica was also consumed by Russia’s masses, as evidenced by a set of pamphlets from the 1910s. A pamphlet labeled Pikantnaya Biblioteka (Naughty Library), containing a tale from the 14th century Italian classic Decameron and a story titled A Consultation, sold for 50 kopeks. On the cover, a satanic figure grips a silky-tressed damsel in distress. In the 1930s, increasing control over books led to hundreds of new additions. Items deemed inappropriate now extended to Soviet writings on sexuality from the previous decade, when abortion was legalised and Alexandra Kollontai, the most famous woman in the Bolshevik government, called for the destruction of the traditional family — a movement reversed under Stalin."

"After Skorodumov’s death, the NKVD, the forerunner of the KGB, raided his collection. According to a letter sent by library director Vasily Olishev to the Council of Ministers, a post-mortem search of his apartment revealed a staggering 40,000 items, 1,763 of which were “books of an erotic nature” while 5,000 were “pornographic or vulgar” brochures and magazines. The Soviet state snapped up the collection from Skorodumov’s widow for 14,000 rubles, then a considerable sum. However, Olishev was careful to note that the money did not extend to the erotica. “The library did not deem it appropriate to pay citizen Burovaya [Skorodumov widow] for the erotic literature, broadsheets and magazines, as this literature presents neither scientific nor historical value to the library’s readers, and is an especially harmful vestige of bourgeois ideology,” he wrote. For just this reason, however, it was necessary to hang on to it: “The Lenin Library did not deem it appropriate to return literature of such a harmful nature to citizen Burovaya, as its possession in the home of a private citizen presents considerable danger.”"

"Gail Horalek, the mother of a 7th-grade child in Michigan in the US, has made international headlines by complaining that the unabridged version of Anne Frank's diary is pornographic and should not be taught at her daughter's school. At issue for Horalek is a section detailing Anne's exploration of her own genitalia, material originally omitted by Anne's father, Otto Frank, when he prepared the manuscript for publication in the late 40s."

"Pornography is material intended to arouse sexual excitement, and I very much doubt that was Anne's intention when she wrote to her imaginary confidant Kitty about her journeys of self-discovery."

"Nevertheless, consistent findings have emerged linking adolescent use of pornography that depicts violence with increased degrees of sexually aggressive behavior."

"Traditional factors that once explained men’s sexual difficulties appear insufficient to account for the sharp rise in erectile dysfunction, delayed ejaculation, decreased sexual satisfaction, and diminished libido during partnered sex in men under 40. This review (1) considers data from multiple domains, e.g., clinical, biological (addiction/urology), psychological (sexual conditioning), sociological; and (2) presents a series of clinical reports, all with the aim of proposing a possible direction for future research of this phenomenon. Alterations to the brain's motivational system are explored as a possible etiology underlying pornography-related sexual dysfunctions. This review also considers evidence that Internet pornography’s unique properties (limitless novelty, potential for easy escalation to more extreme material, video format, etc.) may be potent enough to condition sexual arousal to aspects of Internet pornography use that do not readily transition to real-life partners, such that sex with desired partners may not register as meeting expectations and arousal declines. Clinical reports suggest that terminating Internet pornography use is sometimes sufficient to reverse negative effects, underscoring the need for extensive investigation using methodologies that have subjects remove the variable of Internet pornography use. In the interim, a simple diagnostic protocol for assessing patients with porn-induced sexual dysfunction is put forth."

"Pornography. That which excites, whether from approval or disapproval."

"Sure, pornography is full of anti-feminist imagery, and women are often exploited in the making of it (though there's a growing movement towards ethically produced pornography, as Jones notes). But that this does not translate to the behavior of its users can be seen in another study from 2015, published in the Journal of Sex research. The study found that users of pornography held more egalitarian attitudes than non-users when it came to women in positions of power, women working outside the home, and even abortion. The study also found that those who did and those who did not indulge in pornography “did not differ significantly in their attitudes toward the traditional family and in their self-identification as feminist.”"

"When considering shunga, it is important to shed censorious attitudes towards sexuality that have been a fundamental part of western Christian culture for so long. Although printed shunga was officially illegal in Japan after 1722, it was widely tolerated – indeed, during the three centuries of its popularity many thousands of images were produced in a variety of formats: multi-volume books, bound albums sometimes exchanged as wedding gifts, painted handscrolls, and sets of small-format prints possibly sold in wrappers. Shunga could be sensuous and comic, but it was rarely violent or exploitative. Most shunga depicts vigorous heterosexual couples in mutual bliss – and these prints were likely cherished by men and women, both young and old, from different strata of society, including samurai lords as well as prosperous merchants and commoners. “The division between art and obscene pornography is a Western conception,” says Clark. “There was no sense in Japan that sex or sexual pleasure was sinful.”"

"Pornography is about dominance and often pain. Erotica is about mutuality and always pleasure."

"I can’t tell you how surrealistic it is to find myself and others called “puritanical”, “the new Victorians”, or “anti-sex” for the same views that got us condemned as “sexual libertarians” and “immoral women” until a few years ago. Women and men who oppose pornography for its normalization of violence will have to fight hard if we’re going to avoid the suffragists’ fate of being recorded in history as boring, asexual bluestockings... Depictions of mutual pleasure and the sexualization of equality are so rare that pornographers seem to have the franchise on sex. They can get away with claiming that to oppose pornography is to oppose sex… The answer to pornography lies not only in exposing it as an institution, but making sure that individuals who are drawn to it, but who are not hurting others, don’t feel condemned. It’s partly the feeling of being personally accused that has caused some women, including some feminists, to defend pornography."

"[I can't define what is pornography.] "But I know it when I see it.""

"I shall not today attempt further to define the kinds of [hard-core pornography] material I understand to be embraced within that shorthand description; and perhaps I could never succeed in intelligibly doing so. But I know it when I see it, and the motion picture involved in this case is not that."

"Erotica: The depiction of naked men. Depictions of naked women are far less innocent and are known as "pornography"."

"What do my science fiction stories have in common with pornography? Fantasies of an impossibly hospitable world, I'm told."

"Not unlike urban gangs, police, carnival workers and certain other culturally marginalized guilds, the US porn industry is occluded and insular in a way that makes it seem like high school."

"I would never want to film hard-core pornography, because it always looks like open-heart surgery to me."

"In practice, attempts to sort out good erotica from bad porn inevitably comes down to 'What turns me on is erotic; what turns you on is pornographic.'"

"Pornography is not a monolith, either of apolitical pleasure or of unpleasurable power."

"Watching pornography [..] is like going to a Wikipedia page. You search for a specific thing, a specific feeling, a specific result, and that’s exactly what you find."

"A classic question in the communication literature is whether pornography consumption affects consumers' satisfaction. The present paper represents the first attempt to address this question via meta-analysis. Fifty studies collectively including more than 50,000 participants from 10 countries were located across the interpersonal domains of sexual and relational satisfaction and the intrapersonal domains of body and self satisfaction. Pornography consumption was not related to the intrapersonal satisfaction outcomes that were studied. However, pornography consumption was associated with lower interpersonal satisfaction outcomes in cross-sectional surveys, longitudinal surveys, and experiments. Associations between pornography consumption and reduced interpersonal satisfaction outcomes were not moderated by their year of release or their publication status. But analyses by sex indicted significant results for men only."

"Internet pornography consumption has been increasing due to the widespread use of the internet and become very common practice among people. Today, it has been considered that 46–74% of men and 16–41% of women are active pornography users in modern nations. These data are supported by one of the most popular porn website, PornHub, as reported over 39 billion searches and 42 billion visits during 2019, suggesting 115 million visits and 18,073 terabytes of data transferred per day. the coronavirus continues to spread globally, social distancing, self-isolation/quarantine, and national lockdowns have become the cores to control the pandemic. However, these measures may also lead to increases in social isolation, loneliness, and stress, which can alter the consumption of pornography habits."

"Individual difference variables representing personality traits are emerged as motivators of pornography consumption. The elements of individual difference variables associated with pornography consumption are sensation seeking, dispositional sexual affect (erotophobia–erotophilia), and narcissistic traits (entitlement). In addition to individual difference variables of pornography consumption, self-reported reasons can also be considered as factors that drive individuals to use pornography. Studies reported that sexual arousal and sexual enhancement were the predominant motivations for pornography consumption among the self-reported reasons. Aside from the sexual arousal and enhancement, coping and boredom are linked with greater use of pornography as well. Studies showed that higher levels of psychological distress often end up with greater levels of pornography consumption. When people have negative feeling like stress or anxiety, viewing pornography could offer temporary relief from those feelings. Similarly, curiosity and information seeking were the other contributing domains for pornography consumption. However, these reasons are less endorsed reasons for pornography use than hedonic reasons."

"Boredom is also considered a possible trigger of hypersexual behavior by Kafka. This notion is supported by a psychology research demonstrating that leisure boredom is a significant predictor of pornography use, suggesting that people consume porn more when they are bored. Rothman et al. define the use of pornography as a tool to relieve boredom. Similarly, a recent systemic review evaluating the association between boredom and hypersexuality identified a link between boredom and increased online sexual activity. The rationale behind this boredom effect may be due to the men’s novelty-seeking behaviors to reduce monotony and increase arousal. Another reason for increased porn consuming could be that some people are using sex as a surviving mechanism for coping with their loneliness, depressive symptoms, and even fear of death. In a study, Baltazar et al. reported that people are endorsing porn use to cope with negative affect. Again, in a study, pornography consumption is an important tool for mood management and stress relief. It should be noted that problematic pornography consumption is also considered to cope with negative emotions. As described by Lehmiller, the key idea behind Terror management theory is that “when we are reminded of our own mortality, we subconsciously alter our attitudes and behaviors to help us cope with the ‘terrifying’ prospect of our eventual death.” A research demonstrated that when we are faced with the prospect of our own mortality, this prompts sexual desire and behavior as a coping mechanism."

"The modeling of perceiving consumption of Internet pornography as problematic has already received scientific attention (Grubbs et al., 2019). Gola, Lewczuk, and Skorko (2016) studied the predictors of help-seeking behavior relevant to problematic pornography use. They reported that the quality of symptoms explains a significantly higher proportion of variance than the quantity of consumption of Internet pornography, suggesting that the frequency of use should be less diagnostically weighted to better meet the complexity of patients’ presenting concerns. Although abstinence from pornography might be regarded as a feasible intervention to alleviate any negative symptoms, no experimental investigations (but a few clinical case reports) have been made to date (Fernandez, Tee, & Fernandez, 2017)."

"Of the roughly half who had seen pornography, 53 percent of boys and 39 percent of girls said it was “realistic.” And in the recent Indiana University national survey, only one in six boys and one in four girls believed that women in online porn were not actually experiencing pleasure: As one suburban high school senior boy told me recently, “I’ve never seen a girl in porn who doesn’t look like she’s having a good time.”"

"“There’s nowhere else to learn about sex,” the suburban boy told me. “And porn stars know what they are doing.” His words reflect a paradox about sex and pornography in this country. Even as smartphones have made it easier for teenagers to watch porn, sex education in the United States — where abstinence-based sex education remains the norm — is meager."

"Daley went on to detail a 2010 study that coded incidents of aggression in best-selling 2004 and 2005 porn videos. She noted that 88 percent of scenes showed verbal or physical aggression, mostly spanking, slapping and gagging. (A more recent content analysis of more than 6,000 mainstream online heterosexual porn scenes by Bryant Paul and his colleagues defined aggression specifically as any purposeful action appearing to cause physical or psychological harm to another person and found that 33 percent of scenes met that criteria. In each study, women were on the receiving end of the aggression more than 90 percent of the time.)"

"A., the young woman who said she had never seen an image of a penis until she watched porn, resisted the idea that porn was uniformly bad for teenagers. “At least kids are watching porn and not going out and getting pregnant,” she said. But recently, she told me that she’d given up watching it altogether. She disliked looking at women’s expressions now, believing that they probably weren’t experiencing pleasure and might be in pain. When Drew watched porn, he found himself wondering if women were having sex against their will. As another student said with a sigh: “Nicole and Jess ruined porn for us.”"

"The effect of pornography on sexual response is understudied, particularly among women."

"On average, women using pornography were younger, and reported more interest in sex. Pornography frequency differed significantly by menopausal status, sexual orientation, anxiety/depression status, number of sexual partners, and origin of data collection. During masturbation, more frequent pornography use predicted lower arousal difficulty and orgasmic difficulty, greater pleasure, and a higher percentage of masturbatory events leading to orgasm. Frequency of pornography use predicted only lower arousal difficulty and longer orgasmic latencies during partnered sex, having no effect on the other outcome variables. Pornography use frequency did not predict overall relationship satisfaction or sexual relationship satisfaction. Overall, more frequent pornography use was generally associated with more favorable sexual response outcomes during masturbation, while not affecting most partnered sex parameters. Several demographic and relationship covariates appear to more consistently and strongly predict orgasmic problems during partnered sexual activity than pornography use."

"Research pertaining to pornography has traditionally been conducted from three perspectives. First, pornography use has been evaluated in relation to couples’ relationship satisfaction, often under the assumption that greater reliance upon erotic materials during masturbation is associated with poorer relationship outcomes. Second, pornography has been studied from a neurobehavioral perspective to determine whether individuals who report “compulsive” use exhibit neurophysiologic or epigenetic alterations that typify models of addiction. Third, content analyses of pornographic materials have been conducted to examine the extent to which exposure to beneficial/educational (e.g., providing clitoral stimulation during partnered sex), risky (e.g., condom-less sexual activity), or demeaning (e.g., lack of verbal consent during intercourse, sexual aggression, etc.) sexual scripts might increase the preponderance or social acceptability of such behaviors. Despite the insights gained from these approaches, few studies have analyzed putative direct effects of pornography use on the sexual response cycle, including arousal and orgasmic parameters, comparing masturbatory and partnered sexual activities. In stark contrast to prior research findings and public opinion, we did not find strong empirical support for the hypothesis that pornography use is consistently associated with greater sexual dysfunction or relationship dissatisfaction. In all five regression analyses related to masturbation, more frequent pornography use predicted greater ease of becoming aroused and reaching orgasm, longer latencies to orgasm, greater pleasure upon orgasm, and a higher percentage of masturbatory events leading to orgasm. Among the same parameters for partnered sexual activity, more frequent pornography use predicted greater ease becoming aroused and longer latencies, but no significant associations, either positive or negative, were observed for any of the other outcomes in the regression analyses. Overall, women’s use of pornography to enhance orgasmic response and pleasure was strongly supported by our findings, yet pornography use during masturbation appeared to have no deleterious effects on sexual functioning during partnered sex. Indeed, it was actually associated with lower arousal difficulty during partnered sex. Furthermore, no associations were observed between pornography use frequency and general relationship satisfaction or sexual relationship satisfaction with one’s primary partner in the previous 12 months. In these respects, our results highlight the potential positive effects that pornography use might have for women’s enjoyment of sex. Furthermore, to the extent that pornography use might represent greater openness to using less conventional strategies for enhancing their sexual experience, it may reflect one of a number of techniques that differentiate women who use pornography from women who do not."

"In our multinational, cross-sectional survey of pornography use and sexual response in women, higher frequency of pornography use predicted greater sexual functioning across all outcome variables during masturbation, yet had no deleterious effects on sexual outcomes during partnered activity. Across masturbation and partnered sex, lower levels of educational attainment and the presence of ongoing anxiety or depression were the two most consistent predictors of orgasmic dysfunction in the regression models. Greater sexual relationship satisfaction, in contrast, was associated with more favorable outcomes during partnered sex. Taken together, these findings suggest that the frequency of pornography use per se does not contribute to sexual problems during partnered sex., However, it could well be that a subset of women use erotic materials to compensate for psychosocial factors (e.g., dissatisfaction in one’s sexual relationships, ongoing anxiety or depression) that independently impinge upon sexual responsivity."

"It appears that all the students who enter the school commence as if they were intended for artists in the higher sense of the word, and are not expected to decide as to whether they will devote themselves to the Fine Arts or to Industrial Design, until after they have completed their exercises in the drawing and painting of the figure from the antique and from the living model. It is for this reason, and from the fact that artists for industrial purposes are both well-paid and highly considered (as being well-instructed men), that so many individuals in France engage themselves in both pursuits."

"Paris, Vienna, Berlin, and, we may now say, London, together with many other cities in which periodical Exhibitions of Industrial Art take place, have not, as yet, any appropriate edifice - for these Exhibitions, but some temporary erection or already - existing building is fitted up for the purpose. When the multitude of productions as impose the necessity of an especial erection, it has been necessarily attended with great expense, which is the more objectionable since it is destined to be removed after a very brief existence. The King of Bavaria has been the first to see the necessity of an edifice constructed solely for Exhibitions of Industrial Art, and has, accordingly, caused to be erected a suitable building, of which we are enable to present an engraving. It was inaugurated on the 25th of last August, the King's birthday."

"Fine Art then, records by idealised imitation the glorious works of good men, whilst it holds those of bad men up to our abhorrence — it gives to posterity their images, either on the tinted canvass or the sculptured marble — it imitates the beautiful effects of nature as seen in the glowing landscape or the rising storm, and perpetuates the appearance of those beauteous gems of the seasons — flowers and fruits, which, though fading whilst the painter catches their tints, yet live after decay by and through his genius. Industrial Art, on the contrary, aims at the embellishment of the works of man, by and through that power which is given to the artist for the investigation of the beautiful in nature; and in transferring it to the loom, the printing machine, the potter's wheel, or the metal worker's mould, he reproduces nature in a new form, adapting it to his purpose by an intelligence arising out of his knowledge as an artist and as a workman. In short, the adaptation of the natural type to a new material compels him to reproduce, almost create, as well as imitate — invent as well as copy — design as well as draw!"

"INDUSTRIAL DESIGN is destined to become a universal language ; for in our material age of rapid transition, from abstract, to applied, Science — in the midst of our extraordinary tendency towards the perfection of the means of conversion, or manufacturing production — it must soon pass current in every land."

"The study of Industrial Design is really as indispensably necessary as the ordinary rudiments of learning. It ought to form an essential feature in the education of young persons for whatever profession or employment they may intend to select, as the great business of their lives; for without a knowledge of drawing, no scientific work, whether relating to Mechanics, Agriculture, or Manufactures, can be advantageously studied."

"The triumph of the industrial arts will advance the cause of civilization more rapidly than its warmest advocates could have hoped, and contribute to the permanent prosperity and strength of the country far more than the most splendid victories of successful war."

"In treating the subject a purpose has been kept in view, viz., to try to explain the principles involved in certain methods employed for the production of ornament, and this in order to guide the industrial designer to sure and certain results. To be successful the processes involved in the production of articles of manufacture must be understood, and to this the earnest attention of all interested in the improvement of manufacture should be directed. The abstract teaching of design is comparatively valueless, and success will only be achieved when to the taste of the designer the skill of the workman is united."

"Let us, then, take care of that art which is intended to penetrate into the houses of the lowly. In doing this we may rest assured, that that which is intended to embrace a more exalted position will not be forgotten. Let us not lose tight of the sentiment to nobly expressed by the poet — blind yet bold — when he says:—"

"It has been well observed that the world, more especially the English portion of it, during the last half century, has been in its working dress; that is to say, although we have done some very wonderful things in the way of mechanics, and have produced other things which are marvels of cheapness, yet as regards the production of really beautiful objects, particularly those required in every-day life, we have been behind most other epochs of civilization. Of course there is no prima facie reason why cheap things should be ugly, for a die or mould of a good design costs no more than a bad one; but still the fact remains that the objects in use in every-day life are not beautiful, and it is to effect a change in this respect that the Government have established Schools of Design and the excellent Museum of which I shall have to speak hereafter. Great praise must also be given to the Society of Arts for beginning the movement and carrying it on to the present time; and although the sphere of its action must necessarily be infinitely smaller than that of the Government Schools, yet we should always remember that the initiative of our great English exhibitions of industry came from the Society, and that it is to those exhibitions that we owe the stirring among the dry bones of industrial art which is now taking place."

"At the suggestion of the publishers, this work was undertaken to form one of their series of Dictionaries and Cyclopeadias. In this view, it has been the intention to make it a complete course of instruction and book of reference to the mechanic, architect and engineer. It has not, therefore, been confined to the explanation and illustration of the methods of projection, and the delineation of objects which might serve as copies to the draughtsman, matters of essential importance for the correct and intelligible representation of every form; but it contains the means of determining the amount and direction of strains to which different parts of a machine or structure may be subjected, and the rules for disposing and proportioning of the material employed, to the safe and permanent resistance of those strains, with practical applications of the same."

"The plan of the books is the first systematic effort made in this country to cover the whole field of Art Education for schools, by embracing every subject included under the head of Elementary Drawing. Pupils going through the course in all the subjects will be thoroughly grounded, and prepared either for practical industrial art or the further professional study of the fine arts."

"This question of industrial design is nearly distinct from the general Art education of the public, the former being very much a manufacturers' undertaking, while the other, being of the first importance, appeals to the community at large for sympathy and support."

"Our industrial design is very bad still — a great deal of it — though infinitely better than it was thirty years ago. So a great deal of our teaching of design may be, I fear is, unsound; but all the sound teaching we have is through such schools as this, and even in our errors there is, let us hope, instruction."

"The only way of reaping a harvest of good industrial design is by sowing the seed of good Art."

"The subject of industrial design is one of three important practical co-related subjects which should be taught in public schools, and to which practice and skill in drawing should be applied. Satisfactory results in this subject, however, depend entirely upon the manner in which it is taught. Instruction in industrial design means a clear presentation of the principles which obtain in the construction and harmonious arrangement of geometric form for decorative purposes, the proper use of plant forms in ornamental arrangements, and the principles of good taste to be found in the great history styles of art."

"There are many branches of manufacturing industry which greatly depend for their success upon the designer's art, and it is necessary that the industrial designer should possess a knowledge of the processes of the manufacture in which his designs will be utilized, as well as of the properties and capabilities of the material to which they will be applied."

"The course in industrial design is as follows: First year: Free-hand drawing — Drawing in outline from the flat, from groups of geometrical solids, from objects, memory drawing. Industrial design — Geometrical and free-hand designing in flat outline, historical ornament (ancient) . Mechanical drawing — Elementary perspective, practical geometry. Mathematics — Mensuration, ^first year), Euclid, book 1 (one term only). Second year Free-hand drawing — Drawing in light and shade from the flat and model, from groups of geometrical solids, from ornamental casts, from objects, memory drawing. Industrial design — Designing from plant forms in outline (flat), elementary color (flat), historical ornament (medieval). Third year: Free-hand drawing — Continuation of work of second year, drawing in monochrome, memory drawing. Industrial design — Plastic design, historical ornament (modern), history of design, clay modeling. Work in the special courses is intended largely to supplement the work done in the regular course, but it is of a much more practical nature."

"As architecture stands for parent design principles and represents some of the world's best examples of composition and design, industrial design should be based upon the best examples of architectural design."

"The designer of today, in most branches of art and particularly in the field of industrial design, needs more than vision and inspiration. This can be seen easily by anyone who will trouble himself to analyze the motif of some costly production and consider its chance to endure on the basis of artistic worth, rather than mere excellence of technical finish."

"In brief the industrial designer is a fashion designer of industrial products and is called upon by industry and manufacturers to "style" their products or to "streamline" them."

"Modern industrial design has advanced at a rapid pace during the last ten years. Its successes are no longer confined to objects which, like automobiles and airplanes, are themselves the product of new conditions. Modern design has also begun to conquer the traditional arts, and the feeling for abstract form, first expressed in our time in the works of Picasso, Braque, Brancusi, Duchamps-Villon in Europe, or Stieglitz, Benton, and Storrs for example in the United States, has finally entered architecture and the decorative arts."

"Modern industrial design is based on the principle of conspicuous economy [but] the bourgeois culture which dominates the Western World is founded... on the principle of conspicuous waste."

"One of the functions of an industrial designer is to bridge the gap between manufacturer and ultimate buyer."

"This book is aimed primarily at the young person making his choice of a vocation. It is also designed to give business executives and engineers a clear idea of how the industrial designer operates, what he can do for their business, and how much to expect from him after he has been engaged."

"The industrial designer is found in many fields of industry, which represent a wide diversity of manufactured products. Some of these fields are: Automobiles, airplanes, boats, trains, trailers, trucks; vacuum cleaners, washing machines, toasters, electric fans, lamps; furniture, hardware, electrical equipment; china, glassware, pottery; silverware; garden implements; farm machinery; tools of all kinds;"

"Industrial design is not necessary in the production of goods; but it makes goods more acceptable."

"A most important element for the consideration of the industrial designer is sales. There is only one reason for hiring an industrial designer, and that is to increase the sales of a product."

"In speaking and thinking of industrial design, care must be taken not to limit its application to the few obvious trades. Industrial design is important to every industry and its value in most hast already been demonstrated."

""Can we afford industrial design?" "Is the industrial design consultant merely a stylist ?" "Does the employment of a designer tend to raise the standard of design?" These questions leap to the mind. My friend, , Honorary r.d.i., has gone to a great deal of trouble in his answers to these questions..."

"Industrial design keeps the customer happy, his client in the black and the designer busy."

"A lot of people are open to new things, as long as they look like the old ones."

"There are professions more harmful than industrial design, but only a very few of them. And possibly only one profession is phonier. Advertising design, in persuading people to buy things they don’t need, with money they don’t have, in order to impress others who don’t care, is probably the phoniest field in existence today. Industrial design, by concocting the tawdry idiocies hawked by advertisers, comes a close second. Never before in history have grown men sat down and seriously designed electric hairbrushes, rhinestone-covered file boxes, and mink carpeting for bathrooms, and then drawn up elaborate plans to make and sell these gadgets to millions of people. Before (in the “good old days”), if a person liked killing people, he had to become a general, purchase a coal mine, or else study nuclear physics. Today, industrial design has put murder on a mass production basis. By designing criminally unsafe automobiles that kill or maim nearly one million people around the world each year, by creating whole new species of permanent garbage to clutter up the landscape, and by choosing materials and processes that pollute the air we breathe, designers have become a dangerous breed."

"If there is a designer whose name is synonymous with industrial design it is Raymond Loewy (1893-1986)."

"What Charles and Ray Eames are to furniture design, Raymond Loewy is to industrial design—the modern master"

"Manufacturers are realizing that good industrial design is an important ingredient in their products' success and a vital factor in industrial competitiveness in both domestic and international markets."

"Industrial design is a big industry, so there are always new businesses opening up that have really exciting opportunities."

"If we think about things having multiple lives, cradle to cradle, we could design things that can go back to either nature or back to industry forever."

"Industrial design had its origins in the Industrial Revolution, when factory production began to supplant craft production of housewares, textiles, tools, and other consumer goods."

"Without the good will of manipulators and audience alike, puppets cannot sustain an illusion of life."

"And although I'm not exactly sure what [Jim Henson] did, whatever it was really moved me."

"I had never worked with puppets before so just the concept of talking to this green, grungy-lookin' rag comin' out of a trash can was totally alien to me."

"We have a ways to go in understanding the power of puppetry … Our problem is for too long we have thought of puppets being for children. … The appeal of puppetry to me is it's much more freeing for an artist … Puppetry is a completely controllable means to attack your characters in every possible way. The artist has the possibility to create a much larger landscape with puppetry. The human becomes more human in that sense. Another of the great things about puppetry is the ability to transform."

"My excitement about making the [puppet] team was slightly tempered by the fact that everyone who auditioned had made the team."

"When I hear the art of puppetry discussed, I often feel frustrated in that it's one of those pure things that somehow becomes much less interesting when it is overdiscussed or analyzed."

"One of the nice things about puppets is that it's your own hand in there. You can make it do anything you want it to."

"A good character is almost always derived from an aspect of the performer's personality."

"Parents are concerned that if kids see that a person operates the Muppet, an illusion will be shattered. But I think kids see us as just the people who carry their friends around."

"I feel that almost everyone maintains a childlike quality throughout their adulthood. One of the nice things about the puppet form is that it has the ability to communicate with this childlike side of the audience."

"Working as I do with movement of puppet creatures, I'm always struck by the feebleness of our efforts to achieve naturalistic movement. Just looking at the incredible movement of a lizard or a bird, or even the smallest insect, can be a very humbling experience."

"It was interesting and kind of fun to do--but I wasn't really interested in puppetry then. It was just a means to an end."

"A lot of people build very stiff puppets--you can barely move the thing--and you can get very little expression out of a character that you can barely move. Your hand has a lot of flexibility to it, and what you want to do is to build a puppet that can reflect all that flexibility."

"Kids come to visit the [Sesame Street] studio and they and the puppets are old friends. Those puppets are in their living rooms every day. As soon as a puppet goes up on somebody's arm, the puppeteer ceases to exist. The child comes right up to talk to Grover or the Count. They don't look at the puppeteer. They don't look at the monitor."

"Jim [Henson] had a lot of respect for puppetry, but not much for the puppet as a physical object. It was a means to an end. If he was giving a live demonstration, he didn't care if people saw him put his hand in the puppet, and he didn't try to sustain the illusion once the performance was over."

"And so that he can tell what’s happening, a puppeteer always watches his performance in a television monitor. In a way, the puppeteer becomes an audience to his own performance."

"Well, the thing to remember here is that my own personality has absolutely nothing to do with this weirdo."

"A play is fiction - and fiction is fact distilled into truth."

"If you want to help the American theater, don't be an actress, be an audience."

"It was with some such ideas in mind that I started on this play. Or else they developed as I wrote it. Or else I have developed them in defense of it now that it is written. It is not easy to know what a play is "about" until it is finished, and by then what it is "about" is incorporated in it irreversibly and is no more to be separated from it than the shape of a statue is from the marble. Writing a play is thinking, not thinking about thinking; more like a dream than a scheme—except that it lasts six months or more, and that one is responsible for it."

"[F]rom the late 1580s the Elizabethan theater was full of Turks, Moors, Persians, and Saracens. Between 1579 and 1624, at least 62 plays emerged with Islamic characters, themes or settings. Many of these appear in some of the most influential plays of the period: Marlowe’s Tamburlaine, which includes burning the Koran onstage; Shakespeare’s Titus Andronicus, with its evil, scheming Moor, Aaron; the noble, melancholic Prince of Morocco in The Merchant of Venice; and of course, Othello. The enduring ambivalence audiences still feel toward the tortured Moor of Venice is a sign of the deliberate ambiguity that Shakespeare and other dramatists exploited in the portrayal of such characters."

"Any beings who are not devoid of passion to begin with, who are bound by the bond of passion, focus with even more passion on things inspiring passion presented by an actor on stage in the midst of a festival. Any beings who are not devoid of aversion to begin with, who are bound by the bond of aversion, focus with even more aversion on things inspiring aversion presented by an actor on stage in the midst of a festival. Any beings who are not devoid of delusion to begin with, who are bound by the bond of delusion, focus with even more delusion on things inspiring delusion presented by an actor on stage in the midst of a festival. Thus the actor — himself intoxicated & heedless, having made others intoxicated & heedless — with the breakup of the body, after death, is reborn in what is called the hell of laughter."

"If you have a message, call western union."

"Hence turn your looks to the abominations, not less to be deplored, of another kind of spectacle. In the theatres also you will behold what may well cause you grief and shame. It is the tragic buskin which relates in verse the crimes of ancient days. The old horrors of parricide and incest are unfolded in action calculated to express the image of the truth, so that, as the ages pass by, any crime that was formerly committed may not be forgotten. Each generation is reminded by what it hears, that whatever has once been done may be done again. Crimes never die out by the lapse of ages; wickedness is never abolished by process of time; impiety is never buried in oblivion. Things which have now ceased to be actual deeds of vice become examples."

"The link between philosophy and theatre is strong because theatre also deals with the embodiment of cognitive action, that is, making something happen as a sign of something else."

"French and Taiwanese media reported that the local Chinese consulate reached out to the Strasbourg theater Le Maillon in early February to object to the planned performances of “Ceci n’est pas une ambassade” (“This Is Not an Embassy”). This documentary-style show was co-created by Rimini Protokoll and Taiwan’s National Theater and Concert Hall. It simulates the opening of a Taiwanese embassy and explores Taiwan’s unclear international status. The play was chosen as the opening event for the “Démocraties en jeu” festival, which focuses on threats to democratic governance. When the theater’s director did not respond to the initial contact, the deputy consul general escalated the issue by directly writing to the City of Strasbourg, the theater’s main funder. He demanded the cancellation of the show, claiming it would hurt Sino-French relations."

"I feel that peace has hardly been imagined. It is rarely dramatized in the theater, in the movies, even in books."

"we have to invent new images and ways of power. So far the world thinks of power as violence, that power comes from a gun. We must create a new kind of drama in which there is drama, but it's nonviolent. And this has barely been thought of."

"I don't like to be my own audience, I find that being my own audience, being in the audience, makes me self-conscious, basically. So I tune in sometimes, with the sound off, to check it out and I back up to it. In the future I will look at it when some time has passed."

"We’re all misfits, I guess, in the theater. Otherwise we wouldn’t be here. We’d be out building things, selling things, making money, writing letters to the editor, and paying our taxes with the long form. And on that long form all the numbers in all the columns would add up right."

"Say what you like, there is something wonderful about live theater—about any kind of live theater. Professional or amateur, city or boondocks, it makes no difference. The theater turns us into better people, at least for a moment, each time the curtain rises and the houselights dim."

"I love the power of theater. I think it’s an experience you never forget. It’s more powerful than film or television. I know the plays I saw with Al Pacino, American Buffalo, and True West with John Malkovich, I feel like I lived those moments. It becomes a part of your memory and your life in a way that film and TV has a little bit of distance. Also, theater allows you to be much more political; it allows you to be much more who you are. Where did Hamilton happen? It didn’t happen in movies and television, because it couldn’t. “So we’re going to do a historic piece on Hamilton and everyone is going to be black and Latin playing our forefathers.” They would say: “But wait, they didn’t speak hip-hop in the 1700s?” It would’ve never happened! But where did it happen? On Broadway, in the theater."

"Hostility to the theatre is as old as the theatre itself. Plato banished the theatre from his ideal republic. Church fathers from Tertullian to Augustine denounced it. Our colonial ancestors did their best to keep it out of America, and when it arrived, they greeted it with the kind of demonstration they usually reserved for British tax collectors. The Stamp Act riots of 1765 in New York were followed in 1766 by a riot against the attempt of a company of traveling players to open a theatre. In 1783 a rock-flinging crowd stormed into the pit of a newly opened theatre in Philadelphia. During the century that followed, as the theatre gradually won a grudging acceptance in the United States, pulpit and press continued to resound with denunciation, not simply of the kind of plays produced or of the acting, but of the very existence of theatres. Although these diatribes have been the constant accompaniment of theatrical performances-at least until the present century-most of us associate them with Puritanism. And not without reason. The longest most bitter, and most effective attacks on the theatre came from English Puritans, or at least from Englishmen living in the age of Puritanism. Beginning with a burst of books and pamphlets about 1579, the literature of denunciation reached its culmination in William Prynne's Histrio-mastrix in 1633. Prynne's work, a learned encyclopedia of invective, totaling more than a thousand pages, was culled from two thousand years of writings against the theatre, seasoned by Prynne's own tedious, repetitious, but often forceful arguments. Prynne lost his ears for his labors, because the king thought the book reflected on the royal taste for theatrical amusements; but Prynne has his way in 1642, when the Long Parliament closed the English theatres. As long as Puritans ran the government, the theatres stayed closed and arguments over them subsided. Playwrights preferred writing plays to defending them, and throughout history, the champions of the theatre have been notably less articulate than its enemies. When the king was restored in 1660, so was the theatre, and the attacks on it resumed, but somehow with less zest. The fin-de-siecle Histrio-mastix was written by Jeremy Collier, a pallid, polite, almost effete opponent, who strove unsuccessfully to match the wit and style of the plays he attacked. The assault never again gathered the force it had developed under the Puritans. The theatre thus met with the most intense hostility in England during the immediately after the age of the great English dramatists: the age of Marlowe, Johnson, and Shakespeare. Is this a coincidence?"

"Acting is merely the art of keeping a large number of people from coughing."

"The theater is a great equalizer: it is the only place where the poor can look down on the rich."

"All the world's a stage / And all the men and women merely players / They have their exits and their entrances / And one man in his time plays many parts ..."

"A playwright is a lay preacher peddling the ideas of his time in popular form."

"We [Christians] renounce all your spectacles, as strongly as we renounce the matters originating them, which we know were conceived of superstition, when we give up the very things which are the basis of their representations. Among us nothing is ever said, or seen, or heard, which has anything in common with the madness of the circus, the immodesty of the theatre, the atrocities of the arena, the useless exercises of the wrestling-ground."

"Know your lines and don't bump into the furniture."

"By increasing the size of the keyhole, today's playwrights are in danger of doing away with the door."

"MARIA: Long live theater...What’s theater? BERISH: When you do something without doing it, when you say something without saying it, while thinking that you did say, and you did do something—anything—that’s theater."

"The theatre is a place where one has time for the problems of people to whom one would show the door if they came to one's office for a job."

"I often attribute my screenwriting to journalism because they drill in the who, what, when, where and why – but we really need to land on that why. That’s what I’ve been exploring in my writing for many years and trying to get better at."

"[Screenwriting] is no more complicated than old French torture chambers, I think. It's about as simple as that."

"I moved into directing for a couple of reasons. ... Most directors, I discovered, need to be convinced that the screenplay they’re going to direct has something to do with them. And this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. And I thought, 'Why am I out there looking for directors?'—because you look at a list of directors, it’s all boys. It certainly was when I started as a screenwriter. So I thought, 'I’m just gonna become a director and that’ll make it easier.'"

"Mostly, you write a script and someone’s gonna rewrite you. They get hundreds of—not hundred but they get ten writers to write something. If you have a big budget, you can go and get a lot of people to write on script .... I just actually heard that somebody said, 'Well, your screenplay got bought and now someone like Carrie Fisher will come in and rewrite you.' And I feel terrible, you know, because that’s not what I mean to do. My idea was never to raid something and trash it, you know. ‘Cause that – that’s more work for me!"

"It seems to me it's the hardest thing 'cause you're starting from nothing and creating something. Everybody else is interpreting what you've written. Everybody else is an interpretive artist. Even the best of them. Stanley Kubrick was an interpretive artist. The best actors in the world are interpreting what's on the page, and they use it as a springboard to something else, but if it's not there, there's nothing to spring from. So the writer is the only person who's taking absolutely nothing, and 120 pages of it, and dirtying it up in such a way that it's gonna gross hundreds of millions of dollars and make a lot of people happy."

"A rule says "You must do it this way". A principle says, "This works... and has through all remembered time." The difference is crucial. Your work needn't be modeled after the well-made play; rather it must be well made within the principles that shape our art. Anxious, inexperienced writers obey rules. Rebellious, unschooled writers break rules. Artists master the form."

"In the 80’s and much of the 90’s, [[w:Joe Eszterhas|[Joe] Eszterhas]] was Hollywood’s best-paid screenwriter, sometimes receiving more cash for a script than the film’s director, who would usually find himself in a back-alley brawl with Mr. Eszterhas over their unshared vision. Some of these movies were hits. Some weren’t. One could count on seeing cartons of militantly smoked cigarettes, plenty of on-the-job hanky-panky and, in his late-period panty movies, ruttish lesbians and multiple grand-mal orgasms. “You like to play games, don’t you?” was a line that Mr. Eszterhas wrang out of his Olivetti manual more than once."

"The people who make movies are actually desperate for good material. They’re desperate. And honestly if you write a brilliant script they really wouldn’t care if you were a 95-year-old grandmother from Duluth. They really want something that’s brilliant on the page. And it’s actually one of the main reasons that I chose it, is that it’s very subject to elbow grease, subject to hard work."

"Well, Jack Warner may have been celebrated for calling writers "Schmucks with Underwoods," but 20 years earlier Irving Thalberg … said, "The most important person in the motion picture process is the writer, and we must do everything in our power to prevent them from ever realizing it.""

"This...is why screenwriting pays so well. They don't pay me to write. I'd write for free. They pay me NOT to punch people in the neck."

"Interviewer: The book also assembles several scraps of paper, on which you wrote bits of dialogue or character development on the fly. Is that how you operate, scribbling something down whenever an idea pops into your head?"

"Hollywood groupthink is anathema to the nature of sci fi, which is a cerebral philosophical exploration of humankind and puncturing the limits of our imagination. I think the central concept here is that Hollywood, Cap H, is as terrified of sci fi as it is of an alien invasion. And that’s because the studios, as they have been increasingly corporatized, become absolutely risk averse in a way that they haven’t always been."

"John Rieder notes, for example, that the rising thirst for exploration of alien worlds in fiction starting in the nineteenth century, cannot be detached from growing awareness of an impending disappearance of a certain kind of exploration. He remarks: If the Victorian vogue for adventure fiction in general seems to ride the rising tide of imperial expansion, particularly into Africa and the Pacific, the increasing popularity of journeys into outer space or under the ground in the late nineteenth and early twentieth centuries probably reflects the near exhaustion of the actual unexplored areas of the globe…. Having no place on Earth left for the radical exoticism of unexplored territory, the writers invent places elsewhere."

"Nonetheless, the crosscurrents flowing between representations of alien encounters and the politics of colonialism remain an enduring subject of interest for scholars as evidenced by the many articles examining the films, District 9 and Avatar, as allegories of colonial encounters. Indeed, Neill Blomkamp’s District 9 is arguably the work that first revealed the extent to which it was possible to bring together science fiction and the problematic of postcoloniality for those scholars of African literature and cinema who had not previously given any thought to science fiction as a viable genre for African writers or filmmakers. Since then, scholarly discussions of District 9 have proliferated, but not necessarily in tandem with references to the wider context for African science fiction."

"Science fiction is no more written for scientists than ghost stories are written for ghosts."

"Science fiction is the search for a definition of man and his status in the universe which will stand in our advanced but confused state of knowledge (science), and is characteristically cast in the Gothic or post-Gothic mould."

"Science fiction is that branch of literature that deals with human responses to changes in the level of science and technology."

"Individual science fiction stories may seem as trivial as ever to the blinder critics and philosophers of today — but the core of science fiction, its essence, the concept around which it revolves, has become crucial to our salvation if we are to be saved at all."

"I don't know of any science fiction writer who really attempts to be a prophet. Such authors accomplish their tasks not by being correct in their predictions, necessarily, but merely by hammering home—in story after story—the notion that life is going to be different."

"Science fiction always bases its future visions on changes in the levels of science and technology. And the reason for that consistency is simply that—in reality—all other changes throughout history have been irrelevant and trivial."

"The rockets that have made spaceflight possible are an advance that, more than any other technological victory of the twentieth century, was grounded in science fiction… . One thing that no science fiction writer visualized, however, as far as I know, was that the landings on the Moon would be watched by people on Earth by way of television."

"If you start putting very large numbers of human brain cells into primates, suddenly you might transform primates into something that has some of the capacities that we regard as distinctively human – speech or other ways of being able to manipulate or relate to a human. These possibilities, at the moment, are largely being explored in fiction but we need to start thinking about them now."

"Two centuries. Two hundred years. That’s how long we’ve had science fiction. From the birth of Frankenstein, to the death of Ursula K. Le Guin. Two hundred years. Why aren’t there more? Maybe because science fiction, particularly in the golden age years, was just seen as something men did. Maybe because the boys’ club atmosphere put women off. Maybe women weren’t welcome. The first edition of Frankenstein was published anonymously. In 1967, a new science fiction author came on to the scene, James Tiptree Jr. It was at least a decade before the author of dozens of thoughtful, intelligent and often subversive short stories was revealed to be a woman called Alice Sheldon. In an interview with Isaac Asimov’s Science Fiction magazine in 1983 she said of her pseudonymous career: “A male name seemed like good camouflage. I had the feeling that a man would slip by less observed. I’ve had too many experiences in my life of being the first woman in some damned occupation.” Women write science fiction. Women have always written science fiction. But often, they have been ignored, or sidelined, or simply slid under the radar. If they’re very good at writing science fiction, they can get co-opted out of the genre and into “literary fiction”. Take, for example, Margaret Atwood, whose work is out and-out science fiction, from The Handmaid's Tale to Oryx and Crake. Atwood once infamously said her work wasn’t science fiction at all, because that was all about “talking squids in outer space” But remember this: Mary Shelley was originally tasked to write a ghost story. Instead she invented science fiction with a novel that spoke of horrors yet pierced the heart of humanity."

"The hardest theme in science fiction is that of the alien. The simplest solution of all is in fact quite profound — that the real difficulty lies not in understanding what is alien, but in understanding what is self. We are all aliens to each other, all different and divided. We are even aliens to ourselves at different stages of our lives. Do any of us remember precisely what it was like to be a baby?"

"Myth, religion and now science-fiction with their tales of benevolent and malevolent extraterrestrial beings are commentaries on the human condition."

"The link between colonialism and science-fiction is every bit as old as the link between science-fiction and the future. John Rieder in his eye-opening book Colonialism and the Emergence of Science-Fiction notes that most scholars believe that science fiction coalesced "in the period of the most fervid imperialist expansion in the late nineteenth century." Sci-fi "comes into visibility," he argues, "first in those countries most heavily involved in imperialist projects—France and England" and then gradually gains a foothold in Germany and the U.S. as those countries too move to obtain colonies and gain imperial conquests. He adds, "Most important, no informed reader can doubt that allusions to colonial history and situations are ubiquitous features of early science fiction motifs and plots.""

"On the one hand, then, the reverse colonial stories in sci-fi can be used as a way to sympathize with those who suffer under colonialism. It puts the imperialists in the place of the Tasmanians and says, this could be you, how do you justify your violence now? On the other hand, reverse colonial stories can erase those who are at the business end of imperial terror, positing white European colonizers as the threatened victims in a genocidal race war , thereby justifying any excess of violence. Often, though, sci-fi does both at once—as, Rieder argues, Wells does in The War of the Worlds, which both sympathizes with the oppressed and suggests that survival-of-the-fittest colonial exploitation is natural, inevitable, and unstoppable (there is, after all, no talking to the Martians—or, therefore, to the Tasmanians?). The fact that colonialism is so central to science-fiction, and that science-fiction is so central to our own pop culture, suggests that the colonial experience remains more tightly bound up with our political life and public culture than we sometimes like to think. Sci-fi, then, doesn’t just demonstrate future possibilities, but future limits—the extent to which dreams of what we'll do remain captive to the things we've already done."

"But why do I simply shrug and stop reading if a whodunit turns out to be weary and derivative, while I feel acutely embittered when I find the same qualities in s-f? I see now that it is because s-f is a form which, more than almost any other, by its very nature demands creative originality. The detective story and even the more modern psychological crime novel are—like the western, the love story, the historical romance—fixed forms, in which the creative challenge lies largely in seeing what the author can do within established boundaries. S-f is—or perhaps better, should and must be a literature of stimulus and fresh horizons."

"Fantasies are things that can't happen, and science fiction is about things that can happen."

"Science-fiction works hand-in-glove with the universe."

"Science fiction is the most important literature in the history of the world, because it's the history of ideas, the history of our civilization birthing itself. ...Science fiction is central to everything we've ever done, and people who make fun of science fiction writers don't know what they're talking about."

"People who love science fiction really do love sex."

"I hate the whole ubermensch, superman temptation that pervades science fiction. I believe no protagonist should be so competent, so awe-inspiring, that a committee of 20 really hard-working, intelligent people couldn't do the same thing."

"Not only is every sci fi innovation kept secret, so that its flaws won't be uncovered and dealt with ahead of time, but the public seldom is invited to share in the New Thing. Or, if they do partake, they are portrayed using it as stupidly as possible, as in the flick Surrogates, where the brilliant invention of remote robotic surrogacy is only used to look good. Talk about a jaundiced view of your fellow citizens."

"Science fiction is the perfect "exploring ground," as it gives us the opportunity to play with different outcomes and strategies before we have to deal with the real-world costs."

"I am a huge fan of science fiction! Throughout my life I have marveled at the powerful, even transformative nature of speculative storytelling. The influence science fiction storytelling is having in popular culture right now is amazing to behold, and as a genuine fan of the medium, I truly believe we are in a New Age of speculative fiction. There is a pleasing phenomenon developing in the genre recently: the worthy inclusion of voices of color, which are being paid much overdue attention. Why this is important should be self-evident. However, for those sitting way in the back, consider this: we continually create the world we occupy-in our imaginations first, and only afterwards do we make those visions manifest in this world. So it stands to reason that a healthy society is one that respects and honors the voices of ALL of its components. For too long, the voices and visions for our future have been provided, for the most part, by and from a culturally European (if not Eurocentric) perspective. However, there is change afoot. The works of Octavia E. Butler are becoming mainstream, and names like Nnedi Okorafor and Lesley Nneka Arimah are bringing much needed flavor to the narratives that help shape our future."

"I fell into writing it because I saw a bad movie, a movie called Devil Girl from Mars, and went into competition with it. But I think I stayed with it because it was so wide open. It gave me the chance to comment on every aspect of humanity. People tend to think of science fiction as, oh, Star Wars or Star Trek. And the truth is, there are no closed doors, and there are no required formulas. You can go anywhere with it."

"When I began writing science fiction, when I began reading, heck, I wasn't in any of this stuff I read. The only black people you found were occasional characters or characters who were so feeble-witted that they couldn't manage anything, any way. I wrote myself in, since I'm me and I'm here and I'm writing."

"Like any branch of literature, science fiction reflects the trends of current thinking."

"No less a critic than C. S. Lewis has described the ravenous addiction that these magazines inspired; the same phenomenon has led me to call science fiction the only genuine consciousness-expanding drug."

"Nothing is deader than yesterday's science-fiction."

"SF has never really aimed to tell us when we might reach other planets, or develop new technologies, or meet aliens. SF speculates about why we might want to do these things, and how their consequences might affect our lives and our planet."

"One of the supreme, though unfortunately fairly rare, delights of modern science fiction is that in it you actually can, at times, find Ideas!—real, live, pulsating, coruscating Ideas. Some of them may be on the lame side, but that’s not really important; they still are signs that Someone Has Been Thinking Here. Rare indeed is this phenomenon!"

"[t]his notion leads to one of hard sf’s paradoxes: If our faith in science replaces religious faith, science is co-opted into becoming a religion, which, of course, would be unscientific. . . . The primacy of the sense of wonder in science fiction poses a direct challenge to religion: Does the wonder of science and the natural world as experienced through science fiction replace religious awe? . . . The idea that in the future better and more scientific things will replace all the things we currently need and use—a cosmic belief in an ever-improving standard of living—constitutes what I call the replacement principle of sf."

"Given everything I have read – though I definitely haven’t read everything there is – it seems that Filipino visions of the 22 PSA Newsletter #21 June 2018 Filipino Futures (continued) Articles future unanimously contain sustained social and familial ties. But these visions are also bleak. Dystopias, a stagnant society, and dwindling resources run amok in Philippine science fiction. Does that mean that even if society breaks down, we’ll be all right so long as we have our communities? However, it seems that Filipino young adult science fiction is overwhelmingly positive in its point of view. Since time immemorial, Philippine culture has often emphasized that its youths are the hope for the future, and Philippine YA science fiction does impress this upon its target market. I, for one, cannot wait to see what the future of Philippine science fiction will bring."

"I do watch a lot of television science fiction, and it is a particularly sexless world. With a lot of the material from America, I think gay, lesbian and bisexual characters are massively underrepresented, especially in science fiction, and I'm just not prepared to put up with that. It's a very macho, testosterone-driven genre on the whole, very much written by straight men. I think Torchwood possibly has television's first bisexual male hero, with a very fluid sexuality for the rest of the cast as well. We're a beacon in the darkness."

"Science Fiction writers, I am sorry to say, really do not know anything. We can't talk about science because our knowledge of it is limited and unofficial, and usually our fiction is dreadful."

"In the six years since Walking the Clouds was published, the world of science fiction has been transformed. The genre, once firmly associated with “the increasing significance of the future to Western techno- cultural consciousness” (Wesleyan Anthology of Science Fiction, qtd in Dillon, 2), has been reclaimed by postcolonial and Indigenous thinkers, who are using the genre to imagine decolonial futures. The increasing global interest in Indigenous and Afro-futuristic narratives demonstrates that this genre, to draw on Dillon’s words, has “the capacity to envision Native futures, Indigenous hopes, and dreams recovered by rethinking the past in a new framework”. But, rather than a recent development, speculative fiction has always belonged to these cultures: as Dillon notes in her introduction, “Indigenous sf [science fiction] is not so new – just overlooked”."

"Science fiction is, after all, the art of extrapolation."

"As mythmakers, science fiction writers have a double task, the first aspect of which is to make humanly relevant—literally, to humanize—the formidable landscapes of the atomic era. We must trace in the murky sky the outlines of such new constellations as the Telephone, the Helicopter, the Eight Pistons, the Neurosurgeon, the Cryotron. Often enough, in looking about the heavens for a place to install one of these latter-day figures, the mythmaker discovers that the new figure corresponds very neatly with one already there. The Motorcyclist, for instance,is congruent at almost all points with the Centaur, and no pantheon has ever existed without a great-bosomed, cherry-lipped Marilyn who promises every delight to her devotees. But matching old and new isn’t always this easy. Consider the Rocket Ship. Surely it represents something more than a cross between Pegasus and the Argo. What distinguishes the Rocket Ship is that (1) it is mechanically powered and that (2)its great speed carries it out of ordinary space into hyperspace, a realm of indefinable transcendence. My theory is that the contemporary human experience that the myth of the Rocket Ship apotheosizes is that of driving, or riding in, an automobile. We may deplore the use of cars as a means of self-realization and of public highways as roads to ecstasy, but only driver-training instructors would deny that this is what cars are all about. And, by extension, the Rocket Ship. The twenties and thirties, when driving was still a relative novelty, were also the heyday of the archetypal and, in their way, insurpassable—power fantasies of E. E.Smith and other, lesser bards of the Model T. Among adolescents and in countries such as Italy, where car ownership confers the same ego satisfaction as surviving a rite of passage, the Rocket Ship remains the most venerated of sf icons—and not because it embodies a future possibility but because it interprets a common experience."

"Inner Sanctum: Do you have any advice for young writers of science fiction? Dung: Well, in my opinion, in order to write science fiction, an author has to love both the social and natural sciences and be a skillful writer. Moreover, you should have a deep knowledge of social issues. As a writer, an imaginative mind is necessary to create interesting work. First begin writing short stories, then try with novels. You must combine scientific knowledge and literary skill. Inner Sanctum: In your opinion, what attracts a reader to science fiction? What do they gain from reading it? Dung: Science fiction is based on scientific knowledge and imagination. It’s not all impossible. Captain Nemo’s submarine in Twenty Thousand Leagues Under the Sea was a prediction. The fact is that we now make them to explore the bottom of the sea. Readers are attracted to it because they want an intelligent adventure. The stories make them think, imagine and deduce. The stories predict the future of science and even suggest what scientists will invent."

"There, Master Niketas," Baudolino said, "when I was not prey to the temptations of this world, I devoted my nights to imagining other worlds. ... There is nothing better than imagining other worlds," he said, "to forget the painful one we live in. At least so I thought then. I hadn't yet realized that, imagining other worlds, you end up changing this one."

"Everyone likes watching an epic sci-fi battle. But whether it’s Star Trek’s Federation versus the Borg, Battlestar Galactica versus the Cylons, or the Rebel Alliance versus the Empire, most veterans are left wondering, “It’s like a thousand years in the future. Why are they fighting like it’s the Bronze Age or something?”"

"The last manned fighter planes that will ever be produced are being manufactured right now. Even with that, pilots in Battlestar Galactica and Star Wars are still dueling at short range as though it was World War II. Larger spaceships (I’m looking at you, Millenium Falcon) even have bubble turrets, with gunners swivelling around like on a B-17."

"The big starships are even worse, though. They face off like sailing ships of the 18th century, harkening back to days of yore. Star Trek often has starships facing each other at close range, making everyone think, “That Admiral Nelson was really on to something with those sailing ships and broadside cannon battles!” While Star Trek is the archetype, Battlestar Galactica and Star Wars also feature ships facing off like the British against the French at Trafalgar. After travelling billions of miles and using entire solar systems as their battlegrounds, they fight to the death at ranges of a few feet, and frequently make remarkably little use of the fact that they operate in three dimensions."

"General David Petraeus didn’t personally kill Osama bin Laden. Why does “General” Han Solo lead a squad to take out the shield generator? His friends Admiral Akbar and General Calrissian, along with the rest of the rebel command structure, are above, fighting in a short-range gun battle with Imperial Star Destroyers. Captains Kirk and Picard on Star Trek are one-man SEAL teams fighting the enemy whenever they decide to take a break from their real jobs commanding starships, even though they have crews of literally several hundred other people better suited to fighting than the ship’s captain. And while we’re talking about it, what’s going on with space invasions? The last opposed beach landing was at Inchon, over 60 years ago. Even that site was picked to avoid the heart of enemy defenses. Amphibious assaults in World War II were successful, but at a huge price. Helicopter tactics have changed to avoid hot landing zones. With most helicopters running over $20 million a pop, they aren’t thrown out lightly. The same is true for amphibious ships. Who knows how much a spaceship costs? You wouldn’t know by looking at Starship Troopers, Avatar (2009 film), or Star Wars: Episode II. They drop in from space in fragile, helicopter-type vehicles, directly into the enemy defenses. They can literally land anywhere else on the planet, but they choose to land right in front of enemy laser cannon."

"I think the last time I had one of those "CNN moments," where I was slammed right up against the windshield of the present, would have been seeing that federal building in Oklahoma City lying there in its own crater…and getting the idea that something bad had happened in Middle America… Whenever something like this happens…it ups the ante on being a science-fiction writer. It changes the nature of the game."

"[S]cience fiction implies that the knots of terrestrial racism will eventually loosen because Terrans will have to unite against the aliens, androids, or BEMs [Bug-Eyed Monsters] of the galaxy. Under these circumstances, humans become remarkable for their humanity, not their ethnicity. Robert Scholes seems to have this concept in mind when heremarks that science fiction as a form “has been a bit advanced in its treatment of race and race relations. Because of their orientation toward the future, science fiction writers frequently assumed that America’s major problem in this area—black/white relations—would improve or even wither away.“7 . . .While Scholes and others conveniently assume that distinctions based on race will become invalid in possible future worlds and that it is therefore unnecessary for a character to have a distinct racial background, their presumed total eradication of distinctions based on color or ethnicity seems doubtful short of the Millennium."

"I think that science fiction, even the corniest of it, even the most outlandish of it, no matter how badly it's written, has a distinct therapeutic value because all of it has as its primary postulate that the world does change."

"By the closing years of the twentieth century, after the climax of the Cold War,American science fiction reflected a prevalent sense that typical Western subjects were essentially victims of their own society and culture, colonized by vast networks of artificial simulacra, justified in their desire to break through to something more authentic (and recover the priviledge of threatened masculine agency in the process). In the late 1990s, popular science fiction was dominated by awakening-from-simulacrum stories-exemplified by films like The Matrix (1999), Dark City (1998), and The Truman Show (1998)-which all presented narratives (with predecessors reaching back to Phillip K. Dick’s Time Out of Joint [1959] and beyond) in which the main characters found themselves trapped within a false or simulated world striving to gain access to some more real or authentic exterior. Everyday life, in these narratives, was often portrayed as a kind of emasculating ensnarement within post-Fordist systems of command and control. Protagonists like Neo from The Matrix or Tyler Durden from Fight Club struggled against their externally imposed roles within boring and lifeless administrative white-collar jobs focused on keeping the late capitalist system running. There was a general sense in these films and stories that life had somehow become false or artificial, and science fiction literalized the metaphor of being trapped in an alienating system designed to keep one docile, numb, and plugged into an endless cycle of late capitalist production and consumption."

"“Arguably, one of the most familiar memes of science fiction is that of going to foreign countries and colonising the natives, and as I’ve said elsewhere, for many of us, that’s not a thrilling adventure story; it’s non-fiction, and we are on the wrong side of the strange-looking ship that appears out of nowhere. To be a person of colour writing science fiction is to be under suspicion of having internalised one’s colonisation”."

"What we get from science fiction—what keeps us reading it, in spite of our doubts and occasional disgust—is not different from the thing that makes mainstream stories rewarding, but only expressed differently. We live on a minute island of known things. Our undiminished wonder at the mystery which surrounds us is what makes us human. In science fiction we can approach that mystery, not in small, everyday symbols, but in the big ones of space and time."

"Science fiction is an internationalist genre. When a novel is set in a galaxy far, far, away current geopolitical boundaries don't have a lot of meaning. However, Kaufman says there was a time when you could sell a novel set in space, but you couldn't sell a science fiction novel set in Australia."

"From a social point of view most SF has been incredibly regressive and unimaginative. All those Galactic Empires, taken straight from the British Empire of 1880. All those planets — with 80 trillion miles between them! — conceived of as warring nation-states, or as colonies to be exploited, or to be nudged by the benevolent Imperium of Earth towards self-development — the White Man’s Burden all over again. The Rotary Club on Alpha Centauri, that’s the size of it."

"Science-fiction is a literary province I used to visit fairly often; if I now visit it seldom, that is not because my taste has improved but because the province has changed, being now covered with new building estates, in a style I don't care for. But in the good old days I noticed that whenever critics said anything about it, they betrayed great ignorance. They talked as if it were a homogeneous genre. But it is not, in the literary sense, a genre at all. There is nothing common to all who write it except the use of a particular 'machine'. Some of the writers are of the family of Jules Verne and are primarily interested in technology. Some use the machine simply for literary fantasy and produce what is essentially Märchen or myth. A great many use it for satire; nearly all the most pungent American criticism of the American way of life takes this form, and would at once be denounced as un-American if it ventured into any other. And finally, there is the great mass of hacks who merely 'cashed in' on the boom in science-fiction and used remote planets or even galaxies as the backcloth for spy-stories or love-stories which might as well or better have been located in Whitechapel or the Bronx. And as the stories differ in kind, so of course do their readers. You can, if you wish, class all science-fiction together; but it is about as perceptive as classing the works of Ballantyne, Conrad and W. W. Jacobs together as 'the sea-story' and then criticising that."

"It is absurd to condemn them [science fiction stories] because they do not often display any deep or sensitive characterization. They oughtn't to. … Every good writer knows that the more unusual the scenes and events of his story are, the slighter, more ordinary, the more typical his persons should be. Hence Gulliver is a commonplace little man and Alice is a commonplace little girl. If they had been more remarkable they would have wrecked their books. The Ancient Mariner himself is a very ordinary man. To tell how odd things struck odd people is to have an oddity too much; he who is to see strange sights must not himself be strange."

"With Arab literature so focused on classical themes, an Orwellian allegory, for instance, would tackle the present and envision a future in a more clandestine fashion than a straightforward political attack. Sultana's Dream is an example of such critique. Written in 1905 by a Muslim feminist writer and social reformer who lived in British India, it is one of the earliest examples of feminist science fiction, and is a sort of gender-based Planet of the Apes where the roles are reversed and the men are locked away in a technologically advanced future."

"I like to present my characters—whether they are in the past or in the future—with interesting moral choices, and it seems to me that science-fiction writers are, or should be, the prophets and moralists of today. I am fairly well up on the biological sciences, but I am deeply uninterested in gadgets. A writer's job is to write about people with sympathy and insight."

"Brian Rollins: You're one of the few sci-fi writers in Hollywood to use religion in your shows. What kind of resistance/acceptance do you see from industry insiders and fans?"

"The whiteness of speculative fiction is something I have myself done extensive research on, beginning with the earliest examples of speculative fiction first set in, and then originating from, Southern Africa – H. Rider Haggard’s King Solomon’s Mines in 1885."

"This linguistic progress has not been limited to literature. The 2017 BRICS (an association of five major emerging national economies: Brazil, Russia, India, China and South Africa Film Festival held in Chengdu, China saw the debut of Jahmil XT Qubeka’s 20 minute short film, Stillborn, which follows the android Nobomi SX1 as she tries to uncover the cultural past of the now extinct humans that created her. With dialogue entirely in isiXhosa, the film is the first South African science fiction film not in English."

"Sci-fi can be succinctly defined as speculation, whether based on established scientific facts or on logical pseudo-facts consistent with the framework of the fiction in question, involving smelly green pimply aliens furiously raping or eating, or both, beautiful naked bare-breasted chicks, covering them in slime, red, oozing, living slime, dribbling from every horrific orifice, squeezing out between bulbous pulpy lips onto the sensuous velvety skin of the writhing sweating slave-girls, their bodies cut and bruised by knotted whips brandished by giant blond vast-biceped androids called Simon, and written in the Gothic mode."

"Science fiction has existed in China almost as long as it existed in the West. It began in the late-Qing Dynasty, with scholars translating the works of Jules Verne and H.G. Wells into Chinese. Among such translators was Lu Xun, the father of modern Chinese literature himself. Of course, tales of the strange and mysterious permeate Chinese literature from its ancient origins on, but the first work generally recognized as an original Chinese science fiction story was Colony of the Moon (月球殖民地). It was published as a serial from 1904 to 1905 under the pen name Huangjiang Diaosou (荒江钓叟), which means “Old Fisherman by a Deserted River.” Many other works were published during this early-twentieth-century period. The genre was perceived to have literary merit through its ability to incite interest among readers in the rapidly evolving fields of science and technology, in which China was involved in a game of catch-up."

"Sf cinema is undeniably dominated by the American film industry, at least in Western countries and since the end of World War II. Not only are the majority of sf films released each year produced in the US, but many of them are Hollywood blockbusters made with the biggest of budgets, while nations with very rich cinematic histories, such as France and Italy, have made comparatively few contributions in the genre. There is, however, a not-insignificant corpus of sf cinema produced in Latin America. These films have mostly been ignored by critics and academics, both nationally and internationally, and only in the past few years have they begun to show signs of being rediscovered."

"Science fiction, speculative fiction, whatever you want to call it, is one of the ways to explore social issues in fiction. You can explore what it's going to be like if current trends continue. You can change a variable and see what that does."

"the most fruitful ways to approach the future for me are speculative fiction or utopian fiction. Isaac Asimov once said that all science fiction falls into three categories: What if, If only, and If this continues."

"Of course, science-fiction is an expensive genre to produce. VFX, starships, superheroes, these all cost money. And it’s true Africa can’t yet compete with Hollywood feature films in terms of scale the way it can in terms of imagination. It may take some getting used to, watching a very different sort of Sci-Fi, but these films throw up challenging new ways of thinking about Sci-Fi socially, politically and in terms of what our real future might look like. The closest place to find what we’re used to watching, though, would be South Africa, where artists have used the short, rather than feature film format to explore ideas of how we live in the modern day, shaped ever-more by technology. Another thing everyone says when one brings up African sci-fi is, “You mean like District 9?” And, yes, we do mean like that. A lot like that, actually. As a nation, we like to claim District 9, but let’s face it the money and the audience were American."

"In schools, for example, there are courses in the criticism of literature, art criticism, and so forth. The arts are supposed to be 'not real.' It is quite safe, therefore, to criticize them in that regard -- to see how a story or a painting is constructed, or more importantly, to critically analyze the structure of ideas, themes, or beliefs that appear, say, in the poem or work of fiction. When children are taught science, there is no criticism allowed. They are told, 'This is how things are.' Science's reasons are given as the only true statements about reality, with which no student is expected to quarrel. Any strong intellectual explorations or counter versions of reality have appeared in science fiction, for example. Here scientists, many being science-fiction buffs, can channel their own intellectual questioning into a safe form. 'This is, after all, merely imaginative and not to be taken seriously.'"

"Science fiction rarely is about scientists doing real science, in its slowness, its vagueness, the sort of tedious quality of getting out there and digging amongst rocks and then trying to convince people that what you're seeing justifies the conclusions you're making. The whole process of science is wildly under-represented in science fiction because it's not easy to write about. There are many facets of science that are almost exactly opposite of dramatic narrative. It's slow, tedious, inconclusive, it's hard to tell good guys from bad guys — it's everything that a normal hour of Star Trek is not."

"For the last three decades, the arbiters of taste in science fiction have followed the lead of the mainstream literary publishing industry. When that industry embraced modernist literature—literature with little or no narrative, literature that attempted to capture “real life” in beautiful prose—the industry turned its back on storytelling. Science fiction, in attempt to gain legitimacy, did the same. Too many books, published from the late sixties to now, are stylistically brilliant and essentially dull."

"There are plenty of images of women in science fiction. There are hardly any women."

"In the field of science fiction or fantasy, morality—when it enters a book at all—is almost always either thoughtlessly liberal (you can’t judge other cultures) or thoughtlessly illiberal (strong men must rule) or just plain thoughtless (killing people is bad)."

"The futurist fiction literary genre is a 20th-century phenomenon. According to Gregory Benford, a physicist and a much-laureled hard SF author, “[S]cience fiction arose in a time affected by science’s unsettling relations about ourselves, about our position in the naturalorder—and by relentless technology, science’s burly handmaiden. Science fiction has tried to grapple with ideas which disturb our sense of being at home in the world” (16). Kathryn Cramer sets the beginning of futurist fiction proper in the 1920s (25), as does David G. Hartwell, who claims futurist fiction began when Hugo Gernsback, editor for Amazing Stories, labeled the newgenre as “scientifiction” in 1926 (31, 37). During the 1920s, Hartwell maintains, a growing split developed between high- (Modernist) and low- (popular or paraliterary) literature. Futurist fiction took the brunt of the split as H. G. Wells lost his long aesthetic battle to Henry James, who championed “art for art’s sake.” Wells proceeded to become a popular and successful author and one of the first authorities on futurist fiction technique. As Well’s proto-genre took shape, it evolved in antithesis to Jamesian Modernism by rejecting the valorization of style and innovative content (Hartwell 36). According to Hartwell, clear definitions for futurist fiction would not arise until the mid-1930s when John W. Campbell, who prized scientific integrity in the new genre, assumed editorial responsibility for Astounding Stories (37)."

"For Samuel R. Delany, Jr., speculative fiction, as he preferred to call the genre, is radically different from standard fiction for reasons ranging from syntactic variation to thematic vistas to authorial function (Science447-51). Joanna Russ agrees with Delany’s assessment. She notes that futurist fiction is highly didactic, and for any didactic work to be understood by its reader-critics, they must grasp its constitutive principles. Thus, Russ maintains, as science generates new paradigms, the vast majority of contemporary literary critics who lack a sufficient scientific understanding cannot credibly assay speculative fiction (556-67). Although Russ’ polemic can be applied to futurist fiction generally, it is most directly relevant to hard SF. Hard SF valorizes the central tenet that scientific plausibility must constitute the guiding framework for the story. Although John W. Campbell promulgated its tenets in the 1930s, hard SF would not become a distinct FFF subgenre until the late 1950s ormid-1960s. Some critics see the establishment of hard SF as a conservative reaction to the New Wave literary movement, which embraced extra-scientific influences."

"The question of more pointed significance to the Black community is whether the advent of and devotion to science—which has been used, as a science fiction, throughout the 18th, 19th, and 20th centuries to justify slavery and the inferiority of Blacks—will undercut religion in the African diaspora. Religion has long occupied the central role in the freedom struggle of the Black community (Du Bois, Souls 211-20; Franklin 92-95,146-47; Woodson 52-53). According to Hartwell, much of futurist fiction in the 1940s and 1950s elevated scientific knowledge above other systems of thought, and thus “a lot of it was xenophobic, elitist, racist, and psychologically naive” (38). Apparently, not even the recent unmasking of the widespread eradication or co-opting of diasporic scientific accomplishments engendered by the wave of Black studies programs initiated in the early 1970s has undone the Black community’s suspicion toward science."

"Real science is as amenable to exciting and engrossing fiction as fake science, and I think it is important to exploit every opportunity to convey scientific ideas in a civilization which is both based upon science and does almost nothing to ensure that science is understood."

"Many scientists deeply involved in the exploration of the solar system (myself among them) were first turned in that direction by science fiction. And the fact that some of that science fiction was not of the highest quality is irrelevant. Ten-year-olds do not read the scientific literature."

"Situated within the considerable body of creative material that is set in a future Australia, only a small body of this literary work has been authored by First Nations writers. These works include Archie Weller’s 1999 novel Land of The Golden Clouds , Alexis Wright’s 2013 novel The Swan Book, Ambellin Kwaymullina’s young adult Tribe series, Ellen van Neervan’s 2014 short story “Water” from Heat and Light, and Claire G. Coleman’s 2017 novel Terra Nullius."

"It is said that science fiction and fantasy are two different things. Science fiction is the improbable made possible, and fantasy is the impossible made probable."

"Since the summer of 2012, the patent war between Samsung and Apple has been raging in almost every media outlet in South Korea, reminding the public of their country’s status as the newly risen IT capital in the global community. This recognition indeed extends far beyond the Korean borders; in the recent film Cloud Atlas (2012), for instance, the Western gaze shifts its focus to (Neo-) Seoul as the site of our time’s techno-orientalist future-scape, instead of adhering to the classic imageries of Tokyo or Hong Kong as we have seen in Blade Runner (1982) or Ghost in the Shell (1995). Curiously, however, science fiction as a literary representation of the technologized science South Korea thrives on nowadays never appears to have gained traction in Korea’s own cultural imaginary."

"Remember that Jules Verne was a sort of Shakespeare of science fiction, and we would feel derelict if we did not give his stories in our columns."

"The science fiction approach doesn't mean it's always about the future; it's an awareness that this is different."

"In most Latin American countries, SF&F fiction, both in literature and cinema, tends to be underrated, neglected or simply overlooked by critics and scholars. In Brazil, for instance, SF&F suffers from historical prejudices held by the academic milieu, editorial markets and audiovisual industries. For instance, Mary Elizabeth Ginway suggests that the invisibility of Brazilian science fiction literature could be ascribed to the overrating of the realist novel in Brazil. According to Ginway, Brazilian science fiction still suffers from elitist cultural attitudes that prevail in Brazil; the idea that a “Third World” country could not genuinely produce such a genre. Nevertheless, Latin American SF&F does exist, although it is seldom detected by most film critics, scholars, historians, and perhaps, even by major audiences. This panorama could be due to limited film budgets, and the lack of consistent film industries in Latin America (understanding “industry” in its most orthodox sense). In summary, the alleged “invisibility” of Latin American SF&F film might be partially, if not entirely, explained by historical instability affecting the Latin American film industry. Thus, cultural biases have sided with infrastructural issues in the preclusion of Latin American SF&F cinema."

"There is no such thing as science fiction, there is only science eventuality."

"And there, right there, is the area in which science fiction leads the literary side of its life. It is the job of the science-fiction writer to take the utterly fantastic, if need be, and make it seem as real as a copy of today's tabloid newspaper folded to the sports section. To the extent that he succeeds in this he is a good science-fiction writer, and to the extent that he fails to make the story believable he is a bad one, be it ever so full of faster-than-light gimmicks and futuristic individuals with triple brains and mechanical genitalia."

"Science fiction, thus considered, is not a mere pocket in the varicolored vest of modern writing; it is a new kind of fiction, the beginnings of a long-delayed revolution in letters consequent upon the revolutions that the last two hundred years have witnessed in science, industry, and politics. By this I do not at all mean that it is the only possible literature of the present time, just that it is the type most peculiar to it, most indicative of its larger intellectual trends."

"Whether or not the science fiction will eventually develop a Shakespeare, I would not dare to predict. But I do claim that it is a literature produced by our times as much as Shakespeare's was by his. And its unfortunate, frequent vulgarities can well be equated with the vulgarities and plebeian absurdities of much Elizabethan writing, both reflecting the primitive vitality of the mass audience that responded to them. It is, of course, in any age, only moribund fiction that is polished to a point of antisepsis, and that will, in losing touch with its audience, “lose the name of action.” This new medium has as yet lost neither."

"The human mind is lit by an elemental sense of wonder, a probing, restless curiosity that is our primate heritage and that from its beginnings has sought a knowledge, some knowledge, of the future. To satisfy that need there has come into being a massive and thoroughly modern creation, science fiction, the literature of extrapolative, industrial man."

"Dark matter as a metaphor offers us an interesting way of examining blacks and science fiction. The metaphor can be applied to a discussion of the individual writers as black artists in society and how that identity affects their work. It can also be applied to a discussion of their influence and impact on the sf genre in general. While the "black sf as dark matter" metaphor is novel, the concept behind it is not. The metaphor is neither farfetched nor uncommon if one considers popular themes within the black literary tradition. An excellent example is Ralph Ellison's Invisible Man (1945), a novel that introduced the idea of black invisibility...It is my sincere hope that Dark Matter will help shed light on the sf genre, that it will correct the misperception that black writers are recent to the field, and that it will encourage more talented writers to enter the genre."

"Science fiction is a very big canvas for a film maker to work on because if you are doing a drama, society imposes its rules on you and you have to live by those guidelines; more or less. But in science fiction you get to make up the rules of the world you create."

"The "hard" science-fiction writers are the ones who try to write specific stories about all that technology may do for us. More and more, these writers felt an opaque wall across the future. Once, they could put such fantasies millions of years in the future. Now they saw that their most diligent extrapolations resulted in the unknowable … soon."

"I have been a soreheaded occupant of a file drawer labeled "Science Fiction" ever since, and I would like out, particularly since so many serious critics regularly mistake the drawer for a urinal."

"I advance the thesis that science fiction brings teleology to science, tells of origins and destinies, both asserts and denies “the expectancy of the familiar,” is—in brief—both mythopoeic and mythoclastic."

"It is as romantic myth (“as connoting le roman, or deliberately contrived story”) that I believe science fiction finds its functional definition."

"We hope it will not be long before we may have other works of Science-Fiction [like Richard Henry Horne’s ‘‘The Poor Artist’’], as we believe such books likely to fulfill a good purpose, and create an interest, where, unhappily, science alone might fail. [[Thomas Campbell|[Thomas] Campbell]] says, that ‘‘Fiction in Poetry is not the reverse of truth, but her soft and enchanting resemblance.’’ Now this applies especially to Science-Fiction, in which the revealed truths of Science may be given, interwoven with a pleasing story which may itself be poetical and true—thus circulating a knowledge of the Poetry of Science, clothed in a garb of the Poetry of life."

"“As a mixed-race Asian American, I am used to and feel comfortable existing as ‘other.’ The universes to be found in science fiction are both exciting, and also feel like home,” says Seattle artist Stasia Burrington, whose work is featured in the exhibit. “It feels natural to explore and expand definitions of our reality, and possibilities of what’s to come. I feel like we (contemporary artists) are in an exciting place.” Burrington created an alien landscape mural that touches on the theme of how Asians relate to sci-fi. Some immigrants feel a connection to the alien stories in classic sci-fi, leaving home and traveling to a new planet where you don’t quite belong. Others reject the idea that they are “aliens” and don’t want to be portrayed that way. This diversity of viewpoints is an important part of the exhibition experience. Many artists focused on using sci-fi ideas and creating art through an Asian Pacific American lens. “I was excited about the challenge of taking sci-fi/fantasy ideas and manifest it in a concrete, artistic form through an Asian American lens. I used the word coined by author Ken Liu, ‘Silkpunk,’ to guide and inform elements of my hanging sculpture,” says June Sekiguchi, another local artist whose work is showcased in the exhibit. As evidenced by the number of Asian Americans who work behind the scenes to make sci-fi the massive success it is today, the community has a far greater impact on the genre than is visible on the surface. Exhibits like “Worlds Beyond” offer context and a glimpse into the worlds they help create."

"Science fiction is the branch of literature that perceives the universe through the widest-angle lens. Unlike the mainstream of literature, which attempts, more or less, to depict the real world and real people in present or historic situations with the maximum amount of verisimilitude, science fiction acknowledges from the start that it is fantasy, that it is not depicting that which is or that which has been but is engaging in assaying the actions of people and things against backgrounds of limitless imagination."

"Science fiction has always been with us—writers have always speculated on the horizons of the not-yet-proven—and examples can be culled from the dawn of written lore and are to be found in all periods of storytelling. To some extent this is a type of escapism and to some extent it is a form of genetic curiosity: people always want to know what is over the next hill and beyond the farthest horizon rise and at the end of the rainbow. When tellers of tall tales could no longer convince an audience not quite as gullible as our less informed ancestors, the art of science fiction came into being. Extend what we know a little further, advance the line of what could be, bring in the “if this goes on” factor—and we have science fiction. Fantasy designed as reality."

"Science fiction has been good for publishers so far; it should continue profitably if nobody overdoes it, if the market is not flooded beyond the real purchasing and reading capacity of its audience, if not too much avant-garde junk is overpraised and not too much simplistic trash is overproduced."

"True epics of course are few and historically well spaced, but that slightly more mundane ingredient, the speculative impulse, be it of Classic, Christian or Renaissance shading, which ornamented Western literature with romances, fables, exotic voyages and utopias, seemed to me basically the same turn of fancy exercised today in science fiction, working then with the only objects available to it. It took the Enlightenment, it took science, it took the industrial revolution to provide new sources of idea that, pushed, poked, inverted and rotated through higher spaces, resulted in science fiction. When the biggest, the most interesting ideas began emerging from science, rather than from theology or the exploration of new lands, hindsight makes it seem logical that something like science fiction had to be delivered."

"Science fiction narratives appeared in the North Korean children's magazine Adong munhak between 1956 and 1965, and they bear witness to the significant Soviet influence in this formative period of the DPRK. Moving beyond questions of authenticity and imitation, however, this article locates the science fiction narrative within North Korean discourses on children's literature preoccupied with the role of fiction as both a reflection of the real and a projection of the imminent, utopian future. Through a close reading of science fiction narratives from this period, this article underscores the way in which science, technology, and the environment are implicated in North Korean political discourses of development, and points to the way in which these works resolve the inherent tension between the desirable and seemingly contradictory qualities of the ideal scientist—obedient servant of the collective and indefatigable questioner—to establish the child-scientist as the new protagonist of the DPRK."

"For me, abstraction is real, probably more real than nature. I'll go further and say that abstraction is nearer my heart. I prefer to see with closed eyes."

"Abstract terms (however useful they may be in argument) should be discarded in meditation, and the mind should be fixed on the particular and the concrete, that is, on the things themselves."

"An abstraction is one thing that represents several real things equally well."

"A major danger in using highly abstractive methods in political philosophy is that one will succeed merely in generalizing one’s own local prejudices and repackaging them as demands of reason. The study of history can help to counteract this natural human bias."

"The reliance on the abstract is thus not a result of an over-estimation but rather of an insight into the limited powers of our reason. It is the over-estimation of the powers of reason which leads to the revolt against the submission to abstract rules. Constructivist rationalism rejects the demand for this discipline of reason because it deceives itself that reason can directly master all the particulars; and it is thereby led to a preference for the concrete over the abstract, the particular over the general, because its adherents do not realize how much they thereby limit the span of true control by reason. The hubris of reason manifests itself in those who believe that they can dispense with abstraction and achieve a full mastery of the concrete and thus positively master the social process."

"The abstraction is often the most definite form for the intangible thing in myself that I can only clarify in paint."

"Words are a medium that reduces reality to abstraction for transmission to our reason, and in their power to corrode reality inevitably lurks the danger that the words will be corroded too."

"Denotation by means of sounds and markings is a remarkable abstraction. Three letters designate God for me; several lines a million things. How easy becomes the manipulation of the universe here, how evident the concentration of the intellectual world! Language is the dynamics of the spiritual realm. One word of command moves armies; the word Liberty entire nations."

"Everything abstract is ultimately part of the concrete. Everything inanimate finally serves the living. That is why every activity dealing in abstraction stands in ultimate service to a living whole."

"I discovered the works of Euler and my perception of the nature of mathematics underwent a dramatic transformation. I was de-Bourbakized, stopped believing in sets, and was expelled from the Cantorian paradise. I still believe in abstraction, but now I know that one ends with abstraction, not starts with it. I learned that one has to adapt abstractions to reality and not the other way around. Mathematics stopped being a science of theories but reappeared to me as a science of numbers and shapes."

"Fiction is fact distilled into truth."

"I do not blame the words, for they are, as it were, choice and precious vessels, but I do deplore the wine of error which was poured out to us by teachers already drunk. And, unless we also drank we were beaten, without liberty of appeal to a sober judge."

"We live in a world ruled by fictions of every kind - mass merchandising, advertising, politics conducted as a branch of advertising, the instant translation of science and technology into popular imagery, the increasing blurring and intermingling of identities within the realm of consumer goods, the preempting of any free or original imaginative response to experience by the television screen. We live inside an enormous novel. For the writer in particular it is less and less necessary for him to invent the fictional content of his novel. The fiction is already there. The writer's task is to invent the reality."

"People substituted writing (fiction) for what was once spiritual life, poetry (chaotic words) for actual ecstasies. Art constitutes a minor free zone outside action, paying for its freedom by giving up the real world. A heavy price!"

"Fiction is not imagination. It is what anticipates imagination by giving it the form of reality. This is quite opposite to our own natural tendency which is to anticipate reality by imagining it, or to flee from it by idealizing it. That is why we [Europeans] shall never inhabit true fiction; we are condemned to the imaginary and nostalgia for the future. The American way of life is spontaneously fictional, since it is a transcending of the imaginary in reality."

"The author of any work of fiction that is any good takes me so fully into his orbit that he becomes my friend; I think I'm his or her friend and I really want to be that kind of person. If on reflection I don't ask myself: "Is that really the kind of person I want to be?" "The kind of friend he or she has tried to make me—is that the kind of person I want to be?" then, of course, very serious deformations of the spirit can occur. The thing that can save us from that is to read a lot; then the deformations that one author will produce will be canceled by the others."

"Every novel is an ideal plane inserted into the realm of reality."

"Reality is not always probable, or likely. But if you're writing a story, you have to make it as plausible as you can, because if not, the reader's imagination will reject it."

"Truth is always strange; Stranger than fiction."

"La fiction est le mensonge par lequel nous dison la vérité. (Fiction is the lie through which we tell the truth.)"

"But if stories are one of the ways we make sense of the world, they are also how we experience whatever doesn't make sense, whatever cannot be fully understood. Stories are how we stand in the presence of mystery. If mystery, the genre, is about finding the answers, then mystery, that elusive yet essential element of fiction, is about finding the questions."

"There aren't many answers, but there are plenty of compelling questions, many of which will lead you on wild goose chases (otherwise known as stories and novels) and sometimes you will catch a glimpse of a wild goose."

"The truth of art keeps science from becoming inhuman, and the truth of science keeps art from becoming ridiculous."

"You are right to demand that an author take conscious stock of what he is doing, but you are confusing two concepts: answering the questions and formulating them correctly. Only the latter is required of the author."

"As regards plots I find real life no help at all. Real life seems to have no plots."

"When I come to fiction, both as a reader and as a writer, I wish for it to make visible something that, without it, I would perhaps have never seen. The reason that I might not have seen it isn't that it is so rare but that it can sometimes be nearly impossible to truly see that which is as omnipresent as air. The distance of art aklows me to see the emotional medium that surrounds us all."

"Life is infinitely stranger than anything which the mind of man could invent. We would not dare to conceive the things which are really mere commonplaces of existence. If we could fly out of that window hand in hand, hover over this great city, gently remove the roofs, and peep in at the queer things which are going on, the strange coincidences, the plannings, the cross-purposes, the wonderful chains of events, working through generations, and leading to the most outre results, it would make all fiction with its conventionalities and foreseen conclusions most stale and unprofitable."

"My fiction is not autobiography. I am not an exhibitionist. I do not show myself. I am not asking for forgiveness. I do not want to confess. But I have used everything I know—my life—to show what I believe must be shown so that it can be faced. The imperative at the heart of my writing—what must be done—comes directly from my life. But I do not show my life directly, in full view; nor even look at it while others watch."

"A plot is about things that happen. A story is about people who behave. To admire a story you must be willing to listen to the people and observe them."

"To read fiction means to play a game by which we give sense to the immensity of things that happened, are happening, or will happen in the actual world. By reading narrative, we escape the anxiety that attacks us when we try to say something true about the world. This is the consoling function of narrative — the reason people tell stories, and have told stories from the beginning of time."

"The story had no proper end, but reality rarely does. It is the province of fiction to tie up loose ends, to punish the guilty and reward the good, to join the lovers together and answer all questions."

"The central function of imaginative literature is to make you realize that other people act on moral convictions different from your own."

"Wars produce many stories of fiction, some of which are told until they are believed to be true."

"All animals are equal, but some animals are more equal than others."

"A story with a moral appended is like the bill of a mosquito. It bores you, and then injects a stinging drop to irritate your conscience."

"(You once said, "Fiction is NOT autobiography in a party dress." OK, then what is it?) NH: It's what happens after you grind up a bunch of your personally received input, everything from life experience to that book about spices you read ten years ago, compost it within your imagination, and then in that mulch grow something new. I think that could even apply to autobiographical fiction."

"A man once said: Why such reluctance? If you only followed the parables you yourselves would become parables and with that rid of all your daily cares. Another said: I bet that is also a parable. The first said: You have won. The second said: But unfortunately only in parable. The first said: No, in reality: in parable you have lost."

"Fiction is Truth's elder sister. Obviously. No one in the world knew what truth was till some one had told a story."

"True myth may serve for thousands of years as an inexhaustible source of intellectual speculation, religious joy, ethical inquiry, and artistic renewal. The real mystery is not destroyed by reason. The fake one is. You look at it and it vanishes. You look at the Blond Hero — really look — and he turns into a gerbil. But you look at Apollo, and he looks back at you. The poet Rilke looked at a statue of Apollo about fifty years ago, and Apollo spoke to him. "You must change your life," he said. When true myth rises into consciousness, that is always its message. You must change your life."

"The artist deals in what cannot be said in words. The artist whose medium is fiction does this in words. The novelist says in words what cannot be said in words."

"It doesn’t have to be New York; it could have been Kokomo. I think the point is that having a fictional character come from a real place makes the character seem more real. When I was young, I loved to read Sherlock Holmes. And the fact that he lived on Baker Street in London, a real place, made me enjoy the stories more, with a greater feeling of authenticity."

"To merit serious consideration, fiction of any sort must satisfy one pragmatic requirement (making due allowance for the time and place when it was written): Does it convince the reader?"

"Good books tell the truth, even when they're about things that never have been and never will be. They're truthful in a different way."

"Literature ... seeks to entertain—and why is this? ... The reason, fundamentally, is that literature knows something that science does not: the human resistance to hearing the truth. ... The wisdom of literature arises mainly from its attention to this point. To overcome the resistance to truth, literature makes use of fictions that are images of truth."

"In the form of the oeuvre, the actual circumstances are placed in another dimension where the given reality shows itself as that which it is. Thus it tells the truth about itself; its language ceases to be that of deception, ignorance, and submission. Fiction calls the facts by their name and their reign collapses; fiction subverts everyday experience and shows it to be mutilated and false."

"For if the proper study of mankind is man, it is evidently more sensible to occupy yourself with the coherent, substantial and significant creatures of fiction than with the irrational and shadowy figures of real life."

"Here is one of the fundamental defects of American fiction—perhaps the one character that sets it off sharply from all other known kinds of contemporary fiction. It habitually exhibits, not a man of delicate organization in revolt against the inexplicable tragedy of existence, but a man of low sensibilities and elemental desires yielding himself gladly to his environment, and so achieving what, under a third-rate civilization, passes for success. To get on: this is the aim. To weigh and reflect, to doubt and rebel: this is the thing to be avoided."

"A superior man’s struggle in the world is not with exterior lions, trusts, margraves, policemen, rivals in love, German spies, radicals and tornadoes, but with the obscure, atavistic impulses within him—the impulses, weaknesses and limitations that war with his notion of what life should be. Nine times out of ten he succumbs. Nine times out of ten he must yield to the dead hand. Nine times out of ten his aspiration is almost infinitely above his achievement. The result is that we see him sliding downhill—his ideals breaking up, his hope petering out, his character in decay. Character in decay is thus the theme of the great bulk of superior fiction."

"The hero of the inferior—i.e., the typically American—novel engages in no such doomed and fateful combat. His conflict is not with the inexplicable ukases of destiny, the limitations of his own strength, the dead hand upon him, but simply with the superficial desires of his elemental fellow men. He thus has a fair chance of winning—and in bad fiction that chance is always converted into a certainty. So he marries the daughter of the owner of the factory and eventually gobbles the factory itself. His success gives thrills to persons who can imagine no higher aspiration. He embodies their optimism, as the other hero embodies the pessimism of more introspective and idealistic men. He is the protagonist of that great majority which is so inferior that it is quite unconscious of its inferiority."

"Why should murder be so over-represented in our popular fiction, and crimes of a sexual nature so under-represented? Surely it cannot be because rape is worse than murder, and is thus deserving of a special unmentionable status. Surely, the last people to suggest that rape was worse than murder were the sensitively reared classes of the Victorian era … And yet, while it is perfectly acceptable (not to say almost mandatory) to depict violent and lethal incidents in lurid and gloating high-definition detail, this is somehow regarded as healthy and perfectly normal, and it is the considered depiction of sexual crimes that will inevitably attract uproars of the current variety."

"Nunc fabularum cur sit inventum genus, Brevi decebo. Servitus obnoxia, Quia, quae volebat, non audebat dicere, Affectus proprios in fabellas transtulit. Aesopi illius semita feci viam."

"Truth … does not deviate from its course, even though the end be unpleasant; whereas fiction, being a verbal fabrication, very readily follows a roundabout route, and turns aside from the painful to what is most pleasant."

"Fiction has to be plausible. All history has to do is happen."

"Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities; Truth isn't."

"Fiction reveals truths that reality obscures."

"Fiction is like a spider's web, attached ever so lightly perhaps, but still attached to life at all four corners. Often the attachment is scarcely perceptible."

"Novels so often provide an anodyne and not an antidote, glide one into torpid slumbers instead of rousing one with a burning brand."

"All fantasy should have a solid base in reality."

"In “Unbearable Weight”, I describe the postmodern body, increasingly fed on “fantasies of rearranging, transforming, and correcting, limitless improvement and change, defying the historicity, the mortality, and indeed, the very materiality of the body. In place of that materiality, we now have cultural plastic.” When I wrote these words, the most recent statistics, from 1989, listed 681,000 surgical procedures performed. In 2001, 8.5 million procedures were performed. They are cheaper than ever, safer than ever, and increasingly used, not for correcting major defects, but for “contouring” the face and body. Plastic surgeons seem to have no ethical problem with this. “I’m not here to play philosopher king,” says Dr. Randal Haworth in a “Vogue” interview; “I don’t have a problem with women who already look good and want to look perfect”. Perfect. When did “perfection” become applicable to a human body? The word suggest a Platonic form of timeless beauty-appropriate for marble, perhaps, but not for living flesh. We change, we age, we die. Learning to deal with this is part of the existential challenge-and richness-of mortal life. But nowadays, those who can afford to do so have traded the messiness and fragility of life, the vulnerability of intimacy, the comfort of human connection, for fantasies of limitless achievement, “triumphing” over everything that gets in the way, “going for the gold.” The Greeks called it hubris. We call it our “right” to be all that we can be."

"Fantasies are things that can't happen, and science fiction is about things that can happen."

"But films . . . it’s funny. People buy a ticket. That ticket is their transport to a fantasy which you create for them. Fantasyland, that’s all, and you make their fantasies live. Fantasies of love or hatred or whatever it is. People want their fantasies over and over. People who masturbate usually masturbate with, at the most, four or five fantasies. By and large. Most people like the same food and they like the same kind of music, they like the same kind of sexual fantasy for a period of time, then maybe it changes. As it is in children. Who is it? Bruce Lee. That’s the hero. Then you grow up and grow out of your Bruce Lee period, or your Picasso Blue Period, and go into another period. “But with kids, because they outpower us, because they have no representation, because they are so dependent, all they think about is power. Dinosaurs or the Million Dollar Man, because they feel so helpless, because they have no way out of it, except fantasy. Because they are only that tall. “And that’s all films are. Just an extension of childhood, where everybody wants to be freer, everybody wants to be powerful, everybody wants to be so overwhelmingly attractive that there’s just no doing anything about it. Or everybody wants to have comradeship and to be understood."

"Why fantasy? This question is more likely to be asked now than it was ten years ago, but the changing whims of fashion should not be confused with any fundamental change in human nature or truth. Fantasy is a component of the human psyche which has always existed and most likely always will exist, though the forms it adopts and the esteem in which it is held may vary. We spend a third of our lives in various realms of fantasy and whether or not we remember our experiences and include them in our reckoning of the world, they have a direct and significant effect on our everyday life."

"Your true adult, with fully-developed mind can enjoy fantasy whole-heartedly if it's written in adult words and thought-forms, because, being absolutely confident of his own mental capacity, he doesn't have any sense of embarrassment at being caught reading "childish stuff"....And every human being likes fantasy fundamentally. All we need is fantasy expressed in truly adult forms. Every author who honestly and lovingly does that makes a name on it. Lord Dunsany, Washington Irving, Stephen Vincent Benét."

"A long time ago, in a conference room far, far away... it was ordained that sword-and-sorcery movies would be the Next Big Thing. Just imagine crossing the fantasy worlds of JRR Tolkien and George Lucas! Mythic reverberations! Megabucks! Didn't work."

"There, Master Niketas," Baudolino said, "when I was not prey to the temptations of this world, I devoted my nights to imagining other worlds. ... There is nothing better than imagining other worlds," he said, "to forget the painful one we live in. At least so I thought then. I hadn't yet realized that, imagining other worlds, you end up changing this one."

"Thus, modern pleasure seeking according to Campbell is no longer related to the senses but to activities like daydreaming or fantasizing. The purpose of goods in this context is to act as props. They are the building blocs around which consumers create their pleasurable visions."

"Well, I really want to encourage a kind of fantasy, a kind of magic. I love the term magic realism, whoever invented it — I do actually like it because it says certain things. It's about expanding how you see the world. I think we live in an age where we're just hammered, hammered to think this is what the world is. Television's saying, everything's saying "That's the world." And it's not the world. The world is a million possible things."

"My fantasy since I was a small child was to dominate a dominating man. That turns me on more than anything, a man who does not want to be dominated—like Sean Connery, a really macho man. The kind of man who has no desire for submission. It’s truly perverse. It’s the power play: who has it, how long you have it for, and what you do with it."

"The Onion: How did your interest in fantasy first develop?"

"The Onion: How did you develop your particular visual style?"

""This sort of fiction, commonly called "sword and sorcery" by its fans, is not fantasy at its lowest, but it still has a pretty tacky feel; mostly it's the Hardy Boys dressed up in animal skins and rated R ( and with cover art by Jeff Jones, as likely as not). Sword and sorcery novels and stories are tales of power for the powerless. The fellow who is afraid of being rousted by those young punks who hang around his bus stop can go home at night and imagine himself wielding a sword, his potbelly miraculously gone, his slack muscles magically transmuted into those "iron thews" which have been sung and storied in the pulps for the last fifty years."

"She’d once told Devon, “I'm more interested in things that are real.” He’d been playing the game. Monitor-glow made his head a silhouette. He said, “What’s real is just an accident. No one designed reality to be compelling.” He gestured to the screen. “But a fantasy world is so designed. It takes the most interesting things that ever existed—like knights in armor and pirates on the high seas—and combines them with the most interesting things that anyone ever dreamed up—fire-breathing dragons and blood-drinking vampires. It’s the world as it should be, full of wonder and adventure. To privilege reality simply because it is reality just represents a kind of mental parochialism.”"

"It [fantasy literature] is accused of giving children a false impression of the world they live in. But I think no literature that children could read gives them less of a false impression. I think what profess to be realistic stories for children are far more likely to deceive them."

"Good fantasy, unlike other genres, is more resilient to the tests of time, mainly because the ceaseless march of technology leaves less of a mark."

"Maeda Toshio suggests that aside the theme of human selfishness, the hard-core rape and tentacle porn with which this manga and animation have become synonymous, are "Fantasy service [extras] for the male readers, men are hen-pecked by their wives and their are wages are increasingly equal to women's so they like the rape scenes as they restore their sense of power.""

"Fantasies of any kind are distorted forms of thinking because they always involve twisting perception into unreality. Fantasy is a debased form of vision. Vision and revelation are closely related, while fantasy and projection are more closely associated because both attempt to control external reality according to false internal needs. Twist reality in any way, and you are perceiving destructively. Reality was lost through usurpation, which in turn produced tyranny... No fantasies are true. They are distortions of perception, by definition. They are a means of making false associations, and obtaining pleasure from them. Man can do this only because he is creative. But although he can perceive false associations, he can never make them real except to himself. Man believes in what he creates... [Eventually] fantasies become totally unnecessary as the wholly satisfying nature of reality becomes apparent..."

"Those who lack wisdom are children... Children do confuse fantasy and reality, and they are frightened because they do not know the difference. p. 132 What can be fearful but fantasy, and no-one turns to fantasy unless he despairs of finding satisfaction in reality. Yet it is certain that he will never find satisfaction in fantasy, so that his only hope is to change his mind about reality... The impossible can happen only in fantasy. When you search for reality in fantasies you will not find it. The symbols of fantasy are of the ego, and of these you will find many. But do not look for meaning in them. They have no more meaning than the fantasies into which they are woven. Fairy tales can be pleasant or fearful... Children may believe them, and so, for a while, the tales are true for them. Yet when reality dawns the fantasies are gone. Reality has not gone in the meanwhile. The Second Coming is the awareness of reality, not its return... reality is here. It belongs to you and me... and is perfectly satisfying to all of us."

"Harmless erotic fantasies are terrific, it’s the lousy ones you have to look out for—the harmful, destructive, morbid erotic fixations—real sadism, killing, blood-letting, torturing where the pleasure is in the victim’s actual pain, etc. Those are 100 per cent bad and I won’t have any part of them."

"The Thousand and One Nights, with its magnificent apparatus of genii and afrits, is the greatest work of fantasy that has ever been evolved by tradition, and given literary form. But it, alas, is not English, and has no English equivalent. The Western world does not seem to have conceived the necessity of fairy-tales for grown-ups — though it has been suggested that the modern detective story is an equivalent — and that is perhaps why it condemns them to a life of unremitted toil."

"I suppose the fantastic is what you imagine, but as soon as you do a fantastic thing, it's no longer fantastic, it becomes real."

"John Bell: What attracted you initially to heroic fantasy, a subgenre of fantastic literature that was once notorious for its less-than-enlightened racial attitude?"

"Fantasy is a distorted form of vision. Fantasies of any kind are distortions, because they always involve twisting perception into unreality. Actions that stem from distortions are literally the reactions of those who know not what they do. Fantasy is an attempt to control reality according to false needs. Twist reality in any way and you are perceiving destructively. Fantasies are a means of making false associations and attempting to obtain pleasure from them. But although you can perceive false associations, you can never make them real except to yourself. You believe in what you make. If you offer miracles, you will be equally strong in your belief in them. The strength of your conviction will then sustain the belief of the miracle receiver. Reality is "lost" through usurpation, which produces tyranny. As long as a single "slave" remains to walk the earth, your release is not complete."

"No fantasies are true. They are distortions of perception, by definition. They are a means of making false associations, and obtaining pleasure from them. Man can do this only because he is creative. But although he can perceive false associations, he can never make them real except to himself. Man believes in what he creates... [Eventually] fantasies become totally unnecessary as the wholly satisfying nature of reality becomes apparent..."

"Children do confuse fantasy and reality, and they are frightened because they do not know the difference. p. 132"

"What can be fearful but fantasy, and no-one turns to fantasy unless he despairs of finding satisfaction in reality. Yet it is certain that he will never find satisfaction in fantasy, so that his only hope is to change his mind about reality... The impossible can happen only in fantasy. When you search for reality in fantasies you will not find it. The symbols of fantasy are of the ego, and of these you will find many. But do not look for meaning in them. They have no more meaning than the fantasies into which they are woven. Fairy tales can be pleasant or fearful... Children may believe them, and so, for a while, the tales are true for them. Yet when reality dawns the fantasies are gone. Reality has not gone in the meanwhile. The Second Coming is the awareness of reality, not its return... reality is here. It belongs to you and me... and is perfectly satisfying to all of us. p. 209-210"

"It is said that science fiction and fantasy are two different things. Science fiction is the improbable made possible, and fantasy is the impossible made probable."

"Fantasy literature, in its broadest definition from "Cinderella" to "Beowulf" to Stephen Donaldson, is literature which makes deliberate use of something known to be impossible."

"Fantasy is a higher form of Art, indeed the most nearly pure form, and so (when achieved) the most potent."

"The poet is in command of his fantasy, while it is exactly the mark of the neurotic that he is possessed by his fantasy."

"The "hard" science-fiction writers are the ones who try to write specific stories about all that technology may do for us. More and more, these writers felt an opaque wall across the future. Once, they could put such fantasies millions of years in the future. Now they saw that their most diligent extrapolations resulted in the unknowable … soon."

"It is easy to imagine fantasy as physical and myth as real. We do it almost every moment. We do this as we dream, as we think, and as we cope with the world about us. But these worlds of fantasy that we form into the solid things around us are the source of our discontent. They inspire our search to find ourselves."

"Our writers, I believe, discern a resemblance between the world and their books. Through fantasy, they are saying something about life which could not be said within the naturalistic frame of reference."

"In 1977, Klaus Theweleit published a book in which he sought to understand the germination of fascism in interwar Germany. His method was to study the fantasy life of that era’s conservative revolutionaries, by reading the diaries, novels and letters of the men who joined the Freikorps militias, and fought against insurgent communists during the early days of the Weimar Republic."

"In the fantasies they committed to paper, the men associated the women they despised with floods of liquid and slime, and with dirt – substances that would threaten to overwhelm the defences of their ill-formed psyches."

"Graecia capta ferum victorem cepit et artes intulit agresti Latio."

"It is the historian's job to draw attention to the personal, social, political and indeed moral issues behind the literary and artistic representations of the Greek world. The historian's job is to present pederasty and all, to make sure that … we come face to face with the way the glory that was Greece was part of a world in which many of our own core values find themselves challenged rather than reinforced."

"The worldliness and naturalness with which the religion of the Greeks is reproached is encountered in their plastic art also. Here too the difference from the oriental is immeasurable. Organic structure takes the place of monstrosity; instead of symbolism and denotation we have what we have learned — through the Greeks — to understand as forms of nature. And yet all of these works breathe a loftiness and nobility which lifts us above the transitory and earthbound world of facts. Before our eyes a miracle takes place: the natural has become one with the spiritual and eternal, without surrendering a whit of its abundance, warmth, and immediacy in the amalgam. Should not the spirit for which exact observance of the natural led to the vision of the eternal and infinite have made the religion of the Greeks the very thing it was?"

"Don't judge a book by its cover."

"Handsome is that handsome does."

"She had always thought she would be like her father, and fancied a tall, dark, and handsome face."

"Those who take a superficial and unreflecting view of things observe the outward appearance of anything they meet, e.g. of a man, and then trouble themselves no more about him. The view they have taken of the bulk of his body is enough to make them think that they know all about him. But the penetrating and scientific mind will not trust to the eyes alone the task of taking the measure of reality; it will not stop at appearances, nor count that which is not seen among unrealities. It inquires into the qualities of the man's soul."

"Do not be afraid because of their appearance, for ‘I am with you to save you,’ declares Jehovah."

"All hoods make not monks."

"All that glisters is not gold; Often have you heard that told; Many a man his life hath sold But my outside to behold."

"Gold all is not that doth golden seem."

"Will she pass in a crowd? Will she make a figure in a country church?"

"She looks as if butter wouldn't melt in her mouth."

"Adopt the character of the twisting octopus, which takes on the appearance of the nearby rock. Now follow in this direction, now turn a different hue."

"The most important thing I learned on [[w:Tralfamadore|] was that when a person dies he only appears to die. He is still very much alive in the past, so it is very silly for people to cry at his funeral. All moments, past, present and future, always have existed, always will exist. The Tralfamadorians can look at all the different moments just that way we can look at a stretch of the Rocky Mountains, for instance. They can see how permanent all the moments are, and they can look at any moment that interests them. It is just an illusion we have here on Earth that one moment follows another one, like beads on a string, and that once a moment is gone it is gone forever. When a Tralfamadorian sees a corpse, all he thinks is that the dead person is in bad condition in that particular moment, but that the same person is just fine in plenty of other moments. Now, when I myself hear that somebody is dead, I simply shrug and say what the Tralfamadorians say about dead people, which is "So it goes.""

"A man of sense can artifice disdain, As men of wealth may venture to go plain. * * * * * * I find the fool when I behold the screen, For 'tis the wise man's interest to be seen."

"Esse quam videri."

"Non teneas aurum totum quod splendet ut aurum."

"O wad some power the giftie gie us To see oursel's as ithers see us! It wad fræ monie a blunder free us. And foolish notion; What airs in dress and gait wad lea'e us, And ev'n devotion!"

"Think not I am what I appear."

"As large as life, and twice as natural."

"But every thyng which schyneth as the gold, Nis nat gold, as that I have herd it told."

"Hyt is not al golde that glareth."

"Habit maketh no monke, ne wearing of guilt spurs maketh no knight."

"Appearances to save, his only care; So things seem right, no matter what they are."

"Que tout n'est pas or c'on voit luire."

"We understood Her by her sight; her pure and eloquent blood Spoke in her cheeks, and so distinctly wrought. That one might almost say her body thought."

"All, as they say, that glitters is not gold."

"Cucullus (or Cuculla) non facit monachum."

"He was one of a lean body and visage, as if his eager soul, biting for anger at the clog of his body, desired to fret a passage through it."

"By outward show let's not be cheated; An ass should like an ass be treated."

"Things are seldom what they seem, Skim milk masquerades as cream."

"Not all that tempts your wandering eyes And heedless hearts is lawful prize, Nor all that glisters gold."

"Gloomy as night he stands."

"Judge not according to the appearance."

"Fronti nulla fides."

"Garde-toi, tant que tu vivras, De juger des gens sur la mine."

"Même quand l'oiseau marche on sent qu'il a des ailes."

"All is not golde that outward shewith bright."

"All is not golde that shewyth goldishe hewe."

"He had a head which statuaries loved to copy, and a foot the deformity of which the beggars in the streets mimicked."

"Whited sepulchres, which indeed appear beautiful outward, but are within full of dead men's bones."

"All is not gold that glisteneth."

"Spectatum veniunt, veniunt spectentur ut ipsæ."

"Non semper ea sunt, quæ videntur; decipit Frons prima multos: rara mens intelligit Quod interiore condidit cura angulo."

"L'habit ne fait le moine."

"Looked as if she had walked straight out of the Ark."

"A fair exterior is a silent recommendation."

"Monstrum horrendum, informe, ingens, cui lumen ademptum."

"Of the terrible doubt of appearances, Of the uncertainty after all, that we may-be deluded, That may-be reliance and hope are but speculations after all, That may-be identity beyond the grave is a beautiful fable only. May-be the things I perceive, the animals, plants, men, hills, shining and flowing waters, The skies of day and night, colors, densities, forms, may-be these are (as doubtless they are) only apparitions, and the real something has yet to be known."

"The barber, cutting the growth, removing the flourishing roots."

"With odorous oil thy head and hair are sleek; And then thou kemb'st the tuzzes on thy cheek: Of these, my barbers take a costly care."

"Of a thousand shavers, two do not shave so much alike as not to be distinguished."

"But he shaved with a shell when he chose, 'Twas the manner of primitive man."

"Thy boist'rous locks, no worthy match For valour to assail, nor by the sword * * * * * * But by the barber's razor best subdued."

"The first (barbers) that entered Italy came out of Sicily and it was in the 454 yeare after the foundation of Rome. Brought in they were by P. Ticinius Mena as Verra doth report for before that time they never cut their hair. The first that was shaven every day was Scipio Africanus, and after him cometh Augustus the Emperor who evermore used the rasor."

"Our courteous Antony, * * * * * * Being barber'd ten times o'er, goes to the feast."

"Whose beard they have sing'd off with brands of fire; And ever, as it blaz'd, they threw on him Great pails of puddled mire to quench the hair: My master preaches patience to him and the while His man with scissors nicks him like a fool."

"And his chin new reap'd, Show'd like a stubble-land at harvest-home."

"I must to the barber's; * * * for methinks I am marvellous hairy about the face."

"The barber's man hath been seen with him, and the old ornament of his cheek hath already stuffed tennis-balls."

"A Fellow in a market town, Most musical, cried Razors up and down."

"Cooking is revelation and creation; and a woman can find special satisfaction in a successful cake or a flaky pastry, for not every one can do it: one must have the gift."

"Cookery is become an art, a noble science; cooks are gentlemen."

"And nearer as they came, a genial savour Of certain stews, and roast-meats, and pilaus, Things which in hungry mortals' eyes find favour."

"Yet smelt roast meat, beheld a huge fire shine, And cooks in motion with their clean arms bared."

"I seem to you cruel and too much addicted to gluttony, when I beat my cook for sending up a bad dinner. If that appears to you too trifling a cause, say for what cause you would have a cook flogged."

"A cook should double one sense have: for he Should taster for himself and master be."

"Oh, better no doubt is a dinner of herbs, When season'd by love, which no rancour disturbs And sweeten'd by all that is sweetest in life Than turbot, bisque, ortolans, eaten in strife! But if, out of humour, and hungry, alone A man should sit down to dinner, each one Of the dishes of which the cook chooses to spoil With a horrible mixture of garlic and oil, The chances are ten against one, I must own, He gets up as ill-tempered as when he sat down."

"'Tis burnt; and so is all the meat. What dogs are these! Where is the rascal cook? How durst you, villains, bring it from the dresser, And serve it thus to me that love it not?"

"He that will have a cake out of the wheat must needs tarry the grinding. Have I not tarried? Ay, the grinding: but you must tarry the bolting. Have I not tarried? Ay, the bolting: but you must tarry the leavening. Still have I tarried. Ay, to the leavening: but here's yet in the word "hereafter" the kneading, the making of the cake, the heating of the oven and the baking: nay, you must stay the cooling too, or you may chance to burn your lips."

"No one here will be surprised to hear me say that the Promethean fire which first raised humanity above the animal was the cooking fire."

"God sends meat, and the Devil sends cooks."

"Humans, unlike other animals, have a built-in need for supplemental energy, such as firewood, or fossil fuel energy. Over one million years ago, pre-humans figured out how to cook part of their food. Because of this cooked food, their jaws and digestive apparatus could shrink in size. The improved food supply allowed their brains to improve in complexity. Also, cooked food greatly reduced the time required for chewing, allowing more time for toolmaking and crafts. Heat is also important for killing pathogens in water."

"Every investigation which is guided by principles of nature fixes its ultimate aim entirely on gratifying the stomach."

"Great pity were it if this beneficence of Providence should be marr'd in the ordering, so as to justly merit the Reflection of the old proverb, that though God sends us meat, yet the D— does cooks."

"Hallo! A great deal of steam! the pudding was out of the copper. A smell like a washing-day! That was the cloth. A smell like an eating-house and a pastrycook's next door to each other, with a laundress's next door to that. That was the pudding."

"Ever a glutton, at another's cost, But in whose kitchen dwells perpetual frost."

"Heaven sends us good meat, but the devil sends us cooks."

"Poure faire un civet, prenez un lièvre."

"Digestion, much like Love and Wine, no trifling will brook: His cook once spoiled the dinner of an Emperor of men; The dinner spoiled the temper of his Majesty, and then The Emperor made history—and no one blamed the cook."

"Of herbs, and other country messes, Which the neat-handed Phillis dresses."

"The vulgar boil, the learned roast, an egg."

"I never strove to rule the roast, She ne'er refus'd to pledge my toast."

"A crier of green sauce."

"He ruleth all the roste With bragging and with boste."

"The waste of many good materials, the vexation that frequently attends such mismanagements, and the curses not unfrequently bestowed on cooks with the usual reflection, that whereas God sends good meat, the devil sends cooks."

"Let onion atoms lurk within the bowl, And, half-suspected, animate the whole."

"Velocius (or citius) quam asparagi coquantur."

"This Bouillabaisse a noble dish is— A sort of soup or broth, or brew, Or hotchpotch of all sorts of fishes, That Greenwich never could outdo; Green herbs, red peppers, mussels, saffron, Soles, onions, garlic, roach, and dace; All these you eat at Terre's tavern, In that one dish of Bouillabaisse."

"Very astonishing indeed! strange thing!" (Turning the Dumpling round, rejoined the King), "'Tis most extraordinary, then, all this is; It beats Penetti's conjuring all to pieces; Strange I should never of a Dumpling dream! But, Goody, tell me where, where, where's the Seam?" "Sire, there's no Seam," quoth she; "I never knew That folks did Apple-Dumplings sew." "No!" cried the staring Monarch with a grin; "How, how the devil got the Apple in?"

"The potter, digging the hoe in the ground, for days on end extracting the clay with his hands."

"What land is this? Yon pretty town Is Delft, with all its wares displayed: The pride, the market-place, the crown And centre of the Potter's trade."

"I am content to be a bric-a-bracker and a Ceramiker."

"For a male person bric-a-brac hunting is about as robust a business as making doll-clothes."

"The very "marks" on the bottom of a piece of rare crockery are able to throw me into a gibbering ecstasy."

"Thou spring'st a leak already in thy crown, A flaw is in thy ill-bak'd vessel found; 'Tis hollow, and returns a jarring sound, Yet thy moist clay is pliant to command, Unwrought, and easy to the potter's hand: Now take the mould; now bend thy mind to feel The first sharp motions of the forming wheel."

"There's a joy without canker or cark, There's a pleasure eternally new, 'Tis to gloat on the glaze and the mark Of china that's ancient and blue; Unchipp'd, all the centuries through It has pass'd, since the chime of it rang, And they fashion'd it, figures and hue, In the reign of the Emperor Hwang. Here's a pot with a cot in a park, In a park where the peach-blossoms blew, Where the lovers eloped in the dark, Lived, died, and were changed into two Bright birds that eternally flew Through the boughs of the May, as they sang; 'Tis a tale was undoubtedly true In the reign of the Emperor Hwang."

"Turn, turn, my wheel! Turn round and round Without a pause, without a sound: So spins the flying world away! This clay, well mixed with marl and sand, Follows the motion of my hand; For some must follow, and some command, Though all are made of clay!"

"Figures that almost move and speak."

"And yonder by Nankin, behold! The Tower of Porcelain, strange and old, Uplifting to the astonished skies Its ninefold painted balconies, With balustrades of twining leaves, And roofs of tile, beneath whose eaves Hang porcelain bells that all the time Ring with a soft, melodious chime; While the whole fabric is ablaze With varied tints, all fused in one Great mass of color, like a maze Of flowers illumined by the sun."

"Said one among them: "Surely not in vain My substance of the common Earth was ta'en And to this Figure moulded, to be broke, Or trampled back to shapeless Earth again.""

"All this of Pot and Potter—Tell me then, Who is the Potter, pray, and who the Pot?"

"Hath not the potter power over the clay, of the same lump to make one vessel unto honour, and another unto dishonour?"

"Carved with figures strange and sweet, All made out of the carver's brain."

"I love it, I love it, and who shall dare To chide me for loving that old arm-chair?"

"Joint-stools were then created; on three legs Upborne they stood. Three legs upholding firm A massy slab, in fashion square or round. On such a stool immortal Alfred sat."

"Ingenious Fancy, never better pleased Than when employ'd t' accommodate the fair, Heard the sweet moan of pity, and devised The soft settee; one elbow at each end, And in the midst an elbow it received, United yet divided, twain at once."

"Necessity invented stools, Convenience next suggested elbow-chairs, And Luxury the accomplish'd Sofa last."

"A three-legged table, O ye fates!"

"When on my three-foot stool I sit."

"Isn't it enough to see that a garden is beautiful without having to believe that there are fairies at the bottom of it too?"

"Show me your garden, provided it be your own, and I will tell you what you are like."

"Exclusiveness in a garden is a mistake as great as it is in society."

"Si hortum in bibliotheca habes, nihil deerit."

"God the first garden made, and the first city, Cain."

"My garden painted o'er With Nature's hand, not Art's."

"Who loves a garden, loves a greenhouse too."

"The is clearly more popular than ever, almost certainly because of its informal approach, the profusion of flowers, and the dreamy ambience. Of particular concern in our modern era, cottage gardens also offer great biodiversity. They are good places for human, animal, and insect life."

"We may eat of the fruit of the trees of the garden: But of the fruit of the tree which is in the midst of the garden, God hath said, Ye shall not eat of it, neither shall ye touch it, lest ye die."

"It is not ponderable things alone that are found in gardens, but the great wonder of life, the peace of nature, the influences of sunsets and seasons and of all the tangible things to which we can give no name, not because they are small, but because they are outside the compass of our speech. In the great legend of the Fall the spiritual disaster of Man is symbolised by his exclusion from a garden, and the moral tragedy of modern industrialism is only the repetition of that ancient fable. Man lost his garden, and with it that tranquillity of soul that is found in gardens."

"Bright, big-blossomed roses delight the eye, herbs provide s for all ailments, berry bushes supply fruit for s, vegetables go into the indispensable evening soup, and many exotic plants, gifts from long ago, revert to their primal condition."

"The biggest challenge, I think, and this is probably true for all s, is insects, bugs. I somehow started off thinking oh, I won’t have to deal with any insects because my garden will be inside. But insects really, you know, don’t care about that. It just takes one to make it inside, and they don’t have any natural predators, and one becomes a million. That was a constant, constant struggle. I ended up getting beneficial bugs to combat the bad bugs but, especially indoors, that’s a lot of bugs."

"A garden is a nursery for nurturing connection, the soil for cultivation of practical reverence. And its power goes far beyond the garden gate—once you develop a relationship with a little patch of earth, it becomes a seed itself."

"How well the skilful Gardner drew Of flow’rs and herbs this Dial new; Where from above the milder Sun Does through a fragrant Zodiack run; And, as it works, th’ industrious Bee Computes its time as well as we. How could such sweet and wholsome Hours Be reckon’d but with herbs and flow’rs!"

"’Tis all enforced, the fountain and the grot, While the sweet fields do lie forgot: Where willing nature does to all dispense A wild and fragrant innocence: And fauns and fairies do the meadows till, More by their presence than their skill. Their statues, polished by some ancient hand, May to adorn the gardens stand: But howsoe’er the figures do excel, The gods themselves with us do dwell."

"The most beautiful of all gardens is assuredly not that which is rather forest or field than garden, the 'landscape garden' of a false taste; nor, on the other hand, the shaven and trimmed and weeded parterre with an unstarred lawn; but rather the garden long ago strictly planned, rigidly ordered, architecturally piled, smooth and definite, but later set free, given over to time and the sun; not a wilderness, but having an enclosed wilderness, a directed liberty, a designed magnificence and excess."

"In laying out a garden, the first and chief thing to be considered is the genius of the place."

"To build, to plant, whatever you intend, To rear the column, or the arch to bend, To swell the terrace, or to sink the grot, In all, let Nature never be forgot."

"Consult the genius of the place in all, That tells the waters or to rise, or fall, Or helps th'ambitious hill the heav'ns to scale, Or scoops in circling theatres the vale, Calls in the country, catches opening glades, Joins willing woods, and varies shades from shades, Now breaks, or now directs, th'intending lines, Paints as you plant, and, as you work, designs."

"Grove nods at grove, each alley has a brother, And half the platform just reflects the other. The suff'ring eye inverted nature sees, Trees cut in statues, statues thick as trees; With here a fountain never to be play'd, And there a summer-house that knows no shade."

"Nothing is more completely the child of art than a garden."

"A gardener's greatest skill isn't control, or planning, or power... It's listening. The plants know exactly what to do, and will tell you what they need to do it. All you must do is listen......and provide."

"Come into the garden, Maud, For the black bat, night, has flown."

"We have descended into the garden and caught 300 slugs. How I love the mixture of the beautiful and squalid in gardening. It makes it so like life."

"Once again, I experienced that overwhelming joy in the universe that I had felt in London outside the V and A. But this time, my consciousness of the world seemed larger, more complex. It was the mystic's sensation of oneness, of everything blending into everything else. Everything I looked at reminded me of something else, which also became present to my consciousness, as if I were simultaneously seeing a million worlds and smelling a million scents and hearing a million sounds—not mixed up, but each separate and clear. I was overwhelmed with a sense of my smallness in the face of this vast, beautiful, objective universe, this universe whose chief miracle is that it exists, as well as myself. It is no dream, but a great garden in which life is trying to obtain a foothold. I experienced a desire to burst into tears of gratitude; then I controlled it, and the feeling subsided into a calm sense of immense, infinite beauty."

"[N]one but a poet could have made such a garden."

"There was a man named Lessingham dwelt in an old low house in Wastdale, set in a gray old garden where yew-trees flourished that had seen Vikings in Copeland in their seedling time. Lily and rose and larkspur bloomed in the borders, and begonias with blossoms big as saucers, red and white and pink and lemon-colour, in the beds before the porch. Climbing roses, honeysuckle, clematis, and the scarlet flame-flower scrambled up the walls. Thick woods were on every side without the garden, with a gap north-eastward opening on the desolate lake and the great fells beyond it: Gable rearing his crag-bound head against the sky from behind the straight clean outline of the Screes.Cool long shadows stole across the tennis lawn. The air was golden. Doves murmured in the trees; two chaffinches played on the near post of the net; a little water-wagtail scurried along the path. A French window stood open to the garden, showing darkly a dining-room panelled with old oak, its Jacobean table bright with flowers and silver and cut glass and Wedgwood dishes heaped with fruit: greengages, peaches, and green muscat grapes. Lessingham lay back in a hammock-chair watching through the blue smoke of an after-dinner cigar the warm light on the Gloire de Dijon roses that clustered about the bedroom window overhead. He had her hand in his. This was their House."

"God Almighty first planted a garden."

"My garden is a lovesome thing—God wot! Rose plot, Fringed pool, Fern grot— The veriest school Of peace; and yet the fool Contends that God is not.— Not God in gardens! When the sun is cool? Nay, but I have a sign! 'Tis very sure God walks in mine."

"My garden is a forest ledge Which older forests bound; The banks slope down to the blue lake-edge, Then plunge to depths profound!"

"One is nearer God's heart in a garden Than anywhere else on earth."

"An album is a garden, not for show Planted, but use; where wholesome herbs should grow."

"I walk down the garden paths, And all the daffodils Are blowing, and the bright blue squills. I walk down the patterned garden-paths In my stiff, brocaded gown. With my powdered hair, and jewelled fan, I too am a rare Pattern. As I wander down The garden paths."

"And add to these retired Leisure, That in trim gardens takes his pleasure."

"A little garden square and wall'd; And in it throve an ancient evergreen, A yew-tree, and all round it ran a walk Of shingle, and a walk divided it."

"The garden lies, A league of grass, wash'd by a slow broad stream."

"The splash and stir Of fountains spouted up and showering down In meshes of the jasmine and the rose: And all about us peal'd the nightingale, Rapt in her song, and careless of the snare."

"A little garden Little Jowett made, And fenced it with a little palisade; If you would know the mind of little Jowett, This little garden don't a little show it."

"Mughal painting is a particular style of South Asian painting, generally confined to miniatures either as book illustrations or as single works to be kept in albums, which emerged from Persian miniature painting, with Indian Hindu, Jain, and Buddhist influences, and developed largely in the court of the Mughal Empire (16th - 19th centuries), and later spread to other Indian courts, both Muslim and Hindu, and later Sikh."

"Rais'd of themselves, their genuine charms they boast And those who paint 'em truest praise 'em most."

"In general, just as painters in working from models constantly gaze at their exemplar and thus strive to transfer the expression of the original to their own artistry, so too he who is anxious to make himself perfect in all the kinds of virtue must gaze upon the lives of the saints as upon statues, so to speak, that move and act, and must make their excellence his own by imitation."

"As certain as the Correggiosity of Correggio."

"In the Seljuk period, figurative themes of Turco-Mongol character are some what apparent in all the minor arts in both Iran and Iraq. The true Persian miniature, however, which is indisputably the most perfect figurative art on the soil of Islam, did not come into the world until after the conquest of Iran by the Mongols, and more precisely under the rule of the Īl-Khāns (1256). It is modeled upon Chinese painting with its perfect blend of calligraphy and illustration...The link between writing and image remains fundamental to Persian miniatures, which, belongs, as a whole, to the art of books; all the famous miniaturists were calligraphers before becoming painters."

"From the mingled strength of shade and light A new creation rises to my sight, Such heav'nly figures from his pencil flow, So warm with light his blended colors glow. * * * * * * The glowing portraits, fresh from life, that bring Home to our hearts the truth from which they spring."

"Pisarro explained the Neo-Impressionist theories to his dealer Durand-Ruel in a letter written towards the end of 1886. He stressed the importance of Seurat's role as inventor of the theory, and described the new function of colour, which replaced the mechanical mixtures of pigments with optical mixtures, where colours partially fused in the spectator's eye. The component parts of each optical colour mixture were to be painted in separate touches so that they retained their colour purity. When colours were mixed on the palette, they could only be combined with close neighbors on the colour circle, so as to avoid excessive dulling of the hues. Pissaro noted that the great colour theorists who had influenced Seurat's thinking were Chevreul, the Scott Maxwell, and the American Ogden Rood. Optical colour mixtures, they argued, were more luminous than mixed pigments."

"Lautrec was greatly influenced by the techniques, style and subject matter of Degas, who was a close neighbor between 1887 and 1891. ...Like Degas, Lautrec experimented with painting with which was called peinture à l'essence. In Degas' method, oil was drawn out of his colours by placing them on blotting paper. Then the chalky paint was diluted with turpentine and applied like a wash to his support. Because the turpentine spirit evaporated quickly, the colours dried rapidly, so that the paint surface could be reworked and built up without enormous delays. Unlike paint applied thinly in glazes, with this technique the colour dries mat, and has a chalky surface only thinly and sparely coloured."

"For Matisse in particular it often served to separate areas of contrasting colour, assisting in the vibrant activation of such juxtaposed blocks. While the Impressionist use of colour contrasts had concentrated mainly on the complimentary yellow and violet-blue pair, because these most aptly imitated the effects of sunlight and shadow in nature, Matisse shifted to the red-green complementaries. This pair creates the greatest optical vibration when juxtaposed because the two colours are closest in tone of any on the colour circle. As the eye tires of reading, say, the red as dominant, the green at once appears to come forward and dominate. This vacillation of the eye between the two colours vying for dominance sets up an optical vibration, which enhances the colour properties of each simultaneously. By focusing upon the red-green pair—which Matisse often biased towards pink-turquoise—he avoided the emphasis on the naturalistic representation associated with the Impressionists' use of colour. It was also a pair which, again because of tonal equivalence, affirmed the flatness of the picture surface by negating the illusion of depth."

"Matisse began to exploit the more abstract, and... vibrant, oppositions of red-green. ...[T]he properties of colour itself, and the interactions of colour with their power to create light, instead of reproducing the effect of light, were the basis of Matisse's mature art. Colour no longer stood for, or symbolized, anything external to painting itself; it was colour as colour."

"If they could forget for a moment the correggiosity of Correggio and the learned babble of the sale-room and varnishing Auctioneer."

"What avails, then, the folly of the painter, who from sinful love of gain depicts that which should not be depicted—that is, with his polluted hands he tries to fashion that which should only be believed in the heart and confessed with the mouth? He makes an image and calls it Christ."

"If anyone shall endeavor to represent the forms of the Saints in lifeless pictures with material colors which are of no value (for this notion is vain and introduced by the devil), and does not rather represent their virtues as living images in himself, let him be anathema!"

"A picture is a poem without words."

"Paint me as I am. If you leave out the scars and wrinkles, I will not pay you a shilling."

"Hard features every bungler can command: To draw true beauty shows a master's hand."

"Pictures must not be too picturesque."

"Paint me as I am," said Cromwell, "Rough with age and gashed with wars; Show my visage as you find it, Less than truth my soul abhors."

"Sixtenth century represents the zenith of Ottoman miniature painting. During this time, the influences of the late 15th and early 16th centuries—the encounters with western European portraiture, the growing emphasis on historiographical painting, the impact of ;nautical cartography, and the enduring influence of the Persian legacy – began to crystallize into distinctly Ottoman styles and genres."

"I was always aware, reading Chesterton, that there was someone writing this who rejoiced in words, who deployed them on the page as an artist deploys his paints upon his palette. Behind every Chesterton sentence there was someone painting with words, and it seemed to me that at the end of any particularly good sentence or any perfectly-put paradox, you could hear the author, somewhere behind the scenes, giggling with delight."

": My painting will have to tell many stories. It should be large enough to hold everything. Everything, all the people. There must be a hundred of them. I will work like the spider I saw this morning building its web.First it finds an anchoring point. Here, the heart of my web."

"A flattering painter, who made it his care To draw men as they ought to be, not as they are."

"One picture in ten thousand, perhaps, ought to live in the applause of mankind, from generation to generation until the colors fade and blacken out of sight or the canvas rot entirely away."

"It was to the painters of the previous generation that Monet turned... Boudin summed up clothed figures in rapidly noted dashes of color... that... merged the identities of color and line; Jongkind... made sky, rooftops, water, and foliage shimmer in separate dabs of bright paint; Corot employed broad bands of buttery pigment to give the sense of sunlight streaking through foliage to fall on meadow or forest road; Diaz and Rousseau put spots of paint side by side to create a surface mosaic of foliage; Courbet commonly used opaque paint, scraped and dabbed with a palette knife, to form a patchwork of textured areas that adhered as much to surface as to imagined depth. ...Courbet ...insisted that one must paint what one actually sees ...Monet's improvised technique, "sketchy" even in the most finished areas, was ...a further development of the free, somewhat rough way of applying paint which had characterized the mid-century vanguard. In Courbet... free handling was equated with opposition to authority... For other[s] of the same generation, sketchiness was considered forward-looking, independent, and "democratic"... opposed to the highly finished surfaces of officially sanctioned art. Daubigny was accused of giving mere "impressions" of nature... and Millet's shaggy surfaces were treated... as appropriate to his peasant subjects. ...Sincerity, truth, immediacy, spontaneity, natural light, and color, the banishing of muddy colors, the distrust of smooth finish—these were the moral underpinnings of artistic technique that Monet adopted."

"Well, something must be done for May, The time is drawing nigh— To figure in the Catalogue, And woo the public eye.Something I must invent and paint; But oh my wit is not Like one of those kind substantives That answer Who and What?"

"Delphinum sylvis appingit, fluctibus aprum."

"He that seeks popularity in art closes the door on his own genius: as he must needs paint for other minds, and not for his own."

"Nequeo monstrare et sentio tantum."

"I am not sick. I am broken. But I am happy to be alive as long as I can paint."

"The form of my painting is the content."

"Le Bain... has proved as defiant in execution as it had been in conception... [H]e abandoned , a technique perfected by Leonardo da Vinci and exploited by successful Salon painters... Manet... did away with most... half-tones—the transitions between highlights and shadows—such that his figures... looked harshly lit. ...Since an optical illusion makes light colors advance and dark ones recede, most artists painted a dark undercoat... la sauce.., a transluscent mixture of linseed oil, turpentine and often bitumen... Manet... after The Absinthe Drinker, working instead on canvases treated with off-white primers... gave Le Bain a greater luminosity... at the expense of... spatial recession [depth]. ...Painters were usually trained to create a subtle relief on the surface... Dark colors, such as... for shadows, were spread very thin while highlights were "loaded" or "impasted"... in thick layers... [T]ogether with the darker undercoat... whites would advance and the darks retreat. ...Manet boldly disregarded this practice in Le Bain... Though a few... as Gèricault and Courbet, had... experimented with this technique, the boldness of Manet's application witnessed... a new direction in art."

"Monet and Renoir... concentrated... on the waters of the Seine sparkling... dissolving solid forms into dazzling patches of color. Monet... excelled at... light shimmering on the waves. He worked on the same pale ground favored by Manet but... highlighted... with vibrant pigments, some... newly invented... added... in small commas and dashes. Advances in chemistry... meant nineteenth-century painters possessed a much wider range of pigments... [M]any painters... [had] learned to tone down their works by coating them with transparent brownish glazes made from... ingredients... as bitumen. ...Painters who challenged this prejudice against color... notably Delacroix... found themselves reviled by conservative critics. ...The coruscating reflections in [Monet's] La Grenouillère canvases owed much to his use of pigments such as chromium oxide green and cobalt violet. The former... produced from a... reaction involving salts and , was manufactured... in 1862. Cobalt violet [was] invented in 1859 by... Jean Salvétat... Monet blended it with to create a shimmering water... He would eventually... regard this... pigment as an essential for capturing... light and shade: "I have finally discovered the color of the atmosphere... It is violet." ...Monet might never have discovered the true nature of the atmosphere without... chemists..."

"Ottoman miniature painting gave up the warmth, the whimsy, the theatricality, and the multiple meanings of Iranian art in favor of realism, which was also expressed in Ottoman maps, fortress plans and geographies."

"The only good copies are those which exhibit the defects of bad originals."

"The picture that approaches sculpture nearest Is the best picture."

"One question conditions the dynamics and balance of color in the composition of a painting: whence the source of light?"

"Vain is the hope by colouring to display The bright effulgence of the noontide ray Or paint the full-orb'd ruler of the skies With pencils dipt in dull terrestrial dyes."

"Painting responded to the plague-darkened vision of the human condition provoked by repeated exposure to sudden, inexplicable death. Tuscan painters reacted against Giotto's serenity, preferring sterner, hieratic portrayals of religious scenes and figures. The "Dance of Death" became a common theme for art; and several other macabre motifs entered the European repertory."

"I'll get an inspiration and start painting; then I'll forget everything, everything except how things used to be and how to paint it so people will know how we used to live."

"I mix them with my brains, sir."

"What do you think an artist is? An imbecile who has only eyes if he is a painter, ears if he's a musician, or a lyre in every chamber of his heart if he's a poet, or even, if he's a boxer, only some muscles? Quite the contrary, he is at the same time a political being constantly alert to the horrifying, the passionate or pleasing events of the world, shaping himself completely in their image... No, painting is not made to decorate apartments. It's an offensive and defensive weapon against the enemy."

"Look for the kind of nature that suits your temperament. The motif should be observed more for shape and color than for drawing. There is no need to tighten the form which can be obtained without that. Precise drawing is dry and hampers the impression of the whole, it destroys all sensations. Do not define too closely the outlines of things; it is the brushstroke of the right value and color which should produce the drawing. In a mass, the greatest difficulty is not to give the contour in detail, but to paint what is within. Paint the essential character of things, try to convey it by any means whatsoever, without bothering about technique.—When painting, make a choice of subject, see what is lying at the right and what at the left, and work on everything simultaneously. Don't work bit by bit but paint everything at once by placing tones everywhere, with brushstrokes of the right color and value, while noticing what is alongside. Use small brushstrokes and try to put down your perceptions immediately. The eye should not be fixed on one point, but should take in everything, while observing the reflections which the colors produce on their surroundings. Work at the same time upon the sky, water, branches, ground, keeping everything going on an equal basis and unceasingly rework until you have got it. Cover the canvas at the first go, then work at it until you can see nothing more to add. Observe the aerial perspective as well, from the foreground to the horizon, the reflection of the sky, of foilage. Don't be afraid of putting on color, refine the work little by little.—Don't proceed according to rules and principles, but paint what you observe and feel. Paint generously and unhesitatingly, for it is best not to lose the first impression you feel. Don't be timid in front of nature: one must be bold, at the risk of being deceived and making mistakes. One must have only one master—nature; she is the one always to be consulted."

"You who are sitting before me have the power to change my consciousness into painting, poem, melody or anything else!"

"I accept the fact that the important painting of the last hundred years was done in France. American painters have generally missed the point of modern painting from beginning to end.. ..Thus the fact that good European moderns (European artists who lived in the U.S. because of the Nazi-regime, fh) are now here is very important, for they bring with them an understanding of the problems of modern painting. I am particularly impressed with their concept of the source of art being the unconscious. These idea interests me more than these specific artists do, for the two artists I admire most, Picasso and Miró, are still abroad."

"He best can paint them who shall feel them most."

"Lely on animated canvas stole The sleepy eye, that spoke the melting soul."

"The fellow mixes blood with his colors."

"I arrange my subject as I want it, then I go ahead and paint it, like a child. I want a red to be sonorous—to sound, like a bell; if it doesn't turn out that way, I put more reds or other colors till I get it. I am no cleverer than that. I have no rules and no methods; any one can look over my materials or watch how I paint—he will see that I have no secrets. I look at a nude; there are myriads of tiny tints. I must find the ones that will make the flesh on my canvas live and quiver. Nowadays they want to explain everything. But if they could explain a picture it wouldn't be art. Shall I tell you what I think are the two qualities of a work of art? It must be indescribable and it must be inimitable. ...So in our Gothic architecture: each column is a work of art, because the old French monk who set it up and carved its capital did what he liked—not doing everything alike, as... when things are made by machinery or by rules, but each thing different—like the trees in the forest. The work of art must seize upon you, wrap you up in itself, carry you away. It is the means by which the artist conveys his passion; it is the current which he puts forth which sweeps you along in his passion."

"It was Pissarro's sympathetic attitude to all sincere efforts which prompted Theo van Gogh to ask him... whether he could help his brother. After his first attack, Vincent had remained for one year at the Saint-Rémy Asylum... where he had been able to work between repeated spells of madness... [He] had asked Theo to find him a place near Paris... At Theo's request Pissarro was ready to take Vincent into his house... but Madame Pissarro was afraid [for] her children. Pissarro thereupon recommended his old friend, Dr. Gachet at Auvers, who declared himself willing to take care of Vincent. The latter came to Auvers in May 1890; he killed himself there in July of the same year... After the suicide... Theo van Gogh fell seriously ill; he was taken to Holland and died in January 1891. He was replaced at the gallery... M. Boussod, the owner, complained that Theo... had "accumulated appalling things by modern painters which had brought the firm to discredit. Indeed, Theo had left a stock of works by Degas, Gauguin, Pissarro, Guillaumin, Redon, Lautrec, Monet and others. According to M. Boussod only Monet's canvases were saleable..."

"Painting with all its technicalities, difficulties, and peculiar ends, is nothing but a noble and expressive language, invaluable as the vehicle of thought, but by itself nothing."

"If it is the love of that which your work represents — if, being a landscape painter, it is love of hills and trees that moves you — if, being a figure painter, it is love of human beauty, and human soul that moves you — if, being a flower or animal painter, it is love, and wonder, and delight in petal and in limb that move you, then the Spirit is upon you, and the earth is yours, and the fullness thereof."

"Look here, upon this picture, and on this."

"What demi-god Hath come so near creation?"

"I will say of it, It tutors nature: artificial strife Lives in these touches, livelier than life."

"The painting is almost the natural man: For since dishonour traffics with man's nature, He is but outside; pencill'd figures are Ev'n such as they give out."

"Wrought he not well that painted it? He wrought better that made the painter; and yet he's but a filthy piece of work."

"With hue like that when some great painter dips His pencil in the gloom of earthquake and eclipse."

"… ζωγραφίαν ποίησιν σιωπῶσαν προσαγορεύει [sc. ὁ Σιμωνίδης], τὴν δὲ ποίησιν ζωγραφίαν λαλοῦσαν."

"There is no such thing as a dumb poet or a handless painter. The essence of an artist is that he should be articulate."

"But who can paint Like nature? Can Imagination boast, Amid its gay creation, hues like hers?"

"Take a piece of glass of the size of a half sheet of royal folio paper, and fix it... between your eye and the object you wish to portray. Then move it away until your eye is two-thirds of a braccio away from the piece of glass, and fasten your head by means of an instrument in such a way as to prevent any movement of it whatsoever. Then close or cover up one eye, and with a brush or a piece of red chalk finely ground mark out on the glass what is visible beyond it; afterwards, copy it by tracing on paper from the glass, then prick it out upon paper of a better quality and paint it if you so desire, paying special attention to the aerial perspective."

"If you wish to thoroughly accustom yourself to correct and good positions for your fingers, fasten a frame or a loom divided into squares by threads between your eye and the nude figure which you are representing, and then make the same squares upon the paper where you wish to draw the said nude but very faintly. You should then put a pellet of wax on a part of the network to serve as a mark which as you look at your model should always cover the pit of the throat, or if he should have turned his back make it cover one of the vertebrae of the neck. ...The squares you draw may be as much smaller than those of the network in proportion as you wish your figure to be less than life size..."

"When you wish to see whether the general effect of your picture corresponds with that of the object represented after nature, take a mirror and set it so that it reflects the actual thing, and then compare the reflection with your picture, and consider carefully whether the subject of the two images is in conformity with both, studying especially the mirror. The mirror ought to be taken as a guide... you see the picture made upon one plane showing things which appear in relief, and the mirror upon one plane does the same. The picture is on one single surface, and the mirror is the same. ...if you but know well how to compose your picture it will also seem a natural thing seen in a great mirror."

"[I]n 1892, Cézanne executed one of his most important works, '... It was in this same year that I saw Cézanne's pictures for the first time. It was at Tanguy's... Père Tanguy, a color merchant on a small scale, was the benefactor of more than one unrecognized artist. He considered himself something of a "rebel" because he had not been shot down under the Commune by the party of law and order. In reality he was just a good old soul who extended credit to impecunious artists, and took a passionate interest in their work. But he had a marked predilection for those whom he called with respectful emphasis, "the gentlemen of the School": Guillaumin, Van Gogh, Pissarro, and Vignon, to mention only a few. To his way of thinking, being one of the "School" was equivalent to being "modern": which meant that one must banish "tobacco juice" from the palette forever, and paint "thick." But with good-hearted indulgence, he grudgingly bestowed his respect... upon the luckless painter who honestly sought to earn his daily bread with ivory black. And if the truth were known, Père Tanguy, in common with the very "philistines" whom he scorned, was convinced at the bottom of his heart that hard work and good behavior were not merely prerequisites, but indispensable elements of success. Accordingly, referring to the author [Cézanne] of a picture done with the forbidden "thin mediums," he said candidly, "He's not one of the 'School'; he'll have a hard time arriving. But he'll get there in the end; he never plays the races and he doesn't drink a drop!""

"They dropped into the yolk of an egg the milk that flows from the leaf of a young fig-tree, with which, instead of water, gum or gumdragant, they mixed their last layer of colours."

"In western India, Jainism, an Indian religion which expounded renunciation and asceticism, gave rise to unique miniatures which flowered into the school of Rajasthani painting. The miniature paintings commenced with the patronage of the Jain merchants of Gujarat in the fourteenth century. The painting they commissioned were of illustrations of Jain Royalty and deities which were painted on dried palm leaves and bound in wooden covers...when paper was introduced in the last quarter of the fourteenth century, as somewhat large format became available...They were part of the illustrated texts which were preserved in temple libraries. The illustrated text inspired much of the later Hindu miniature paintings."

"The themes of Mithuna and Maithuna continued in paintings created during the Mughal and British rules (15-19th CE), mainly in Rajasthan and Himachal Pradesh. The erotic themes of the Hindu miniature paintings represented loves of divine couples."

"In such miniature paintings the theme of lyric poetry was depicted with strong confident lines, throbbing colours, and bold patterns, but controlled workmanship. The lively landscape created a standard for these outstanding illustrations."

"The ornamental borders framing the miniature paintings seem to be inspired by the decorative designs on the Mughal carpets."

"I would I were a painter, for the sake Of a sweet picture, and of her who led, A fitting guide, with reverential tread, Into that mountain mystery."

"A portrait miniature is a miniature portrait painting, usually executed in gouache, water colour, or enamel. Portrait miniatures developed out of the techniques of the miniatures in illuminated manuscripts, and were popular among 16th-century elites, mainly in England and France, and spread across the rest of Europe from the middle of the 18th-century, remaining highly popular until the development of daguerreo types and photography in the mid-19th century. They were especially valuable in introducing people to each other over distances; a nobleman proposing the marriage of his daughter might send a courier with her portrait to visit potential suitors. Soldiers and sailors might carry miniatures of their loved ones while traveling, or a wife might keep one of her husband while he was away. The first miniaturists used water colour to paint on stretched vellum. During the second half of the 17th century, vitreous enamel painted on copper became increasingly popular, especially in France. In the 18th century, miniatures were painted with water colour on ivory, which had now become relatively cheap. As small in size as 40 mm × 30 mm, portrait miniatures were often used as personal w:Mementosmementos or as jewellery or snuff box covers."

"[W]ant to bring it? Bring it. But, we ain't singing. We're bringing drama."

"I saw the people gather/I heard the music start/The song that they were singing/Is ringing in my heart"

"Debe ser la caricia de lo inútil,/la tristeza sin fin de ser poeta,/de cantar y cantar, sin que se rompa/la tragedia sin par de la existencia."

"The tenor's voice is spoilt by affectation, And for the bass, the beast can only bellow; In fact, he had no singing education, An ignorant, noteless, timeless, tuneless fellow."

"Let's sing now because life is leaving"

"I suffer so much in this life, Doro. That is what they feeling when I sing, that is why they cry. People who felt nothing in this life cannot sing. Once I had a great suffering and from it came a new voice."

"The softer you sing, the louder you're heard."

"Come, sing now, sing; for I know you sing well; I see you have a singing face."

"Three merry boys, and three merry boys, And three merry boys are we, As ever did sing in a hempen string Under the gallow-tree."

"Be like the grasshopper and make night musical. Nightly wash your bed and water your couch with your tears. Watch and be like the sparrow alone upon the housetop. Sing with the spirit, but sing with the understanding also. 1 Corinthians 14:15 And let your song be that of the psalmist: Bless the Lord, O my soul; and forget not all his benefits; who forgives all your iniquities; who heals all your diseases; who redeems your life from destruction. Can we, any of us, honestly make his words our own: I have eaten ashes like bread and mingled my drink with weeping? Yet, should we not weep and groan when the serpent invites us, as he invited our first parents, to eat forbidden fruit, and when after expelling us from the paradise of virginity he desires to clothe us with mantles of skins such as that which Elijah, on his return to paradise, left behind him on earth? 2 Kings 2:13 Say to yourself: What have I to do with the pleasures of sense that so soon come to an end? What have I to do with the song of the sirens so sweet and so fatal to those who hear it?"

"Urusvati has developed her musical talent beautifully. This proficiency is achieved as the result of much labor in other lives. According to the Teachings of Plato, music should not be understood in the narrow sense of music alone, but as participation in all the harmonious arts. In singing, in poetry, in painting, in sculpture, in architecture, in speech, and, finally, in all manifestations of sound, musicality is expressed. In Hellas a ceremony to all the Muses was performed. Tragedy, dance, and all rhythmic movement served the harmony of Cosmos. Much is spoken about beauty, but the importance of harmony is little understood. Beauty is an uplifting concept, and each offering to beauty is an offering to the equilibrium of Cosmos. Everyone who expresses music in himself sacrifices, not for himself, but for others, for humanity, for Cosmos. Perfection of thought is an expression of beautiful musicality. The highest rhythm is the best prophylaxis, a pure bridge to the highest worlds. Thus We affirm Beauty in Our Abode. Urusvati has noted that the music of the spheres is characterized by a harmony of rhythm. It is precisely this quality that brings inspiration to humanity. People usually do not think about the sources of inspiration, but if they did they would help Our work greatly. 42."

"You know about the special musical instruments that are in Our possession. Urusvati has heard them. The refined scale and rhythm of Sister Oriole should be acknowledged as the highest harmony. Often such singing has served to bring peace to the world... One should learn how to develop one’s own musicality by all possible means. The heart’s feeling is sensed not in the words themselves but in their sound. There can be no irritation in harmony. Malice cannot exist where the spirit ascends. It is not by chance that in antiquity the epic scriptures were sung, not only to facilitate memorizing but also for inspiration. Likewise, it is rhythm and harmony that protect us against fatigue. The quality of music and rhythm should be developed from infancy."

"Once, according to an old legend, there came a messenger from a distant world to give people equality, brotherhood and joy. Long since had people forgotten their songs. They remained in a stupor of hate. The messenger banished darkness and crowdedness, smote infection, and instituted joyful labor. Hatred was stilled, and the sword of the messenger remained on the wall. But all were silent and knew not how to begin singing. Then the messenger assembled the little children, led them into the woods, and said to them: “These are your flowers, your brooks, your trees. No one has followed us. I shall rest—and you fill yourselves with joy.” Thereupon, timidly they ventured into the forest. At last the littlest one came to a meadow and sighted a ray of the sun. Then a yellow oriole sounded its call. The little one followed it, whispering. And soon joyously he sang out, “The sun is ours!” One by one the children gathered upon the meadow, and a new hymn to Light rang out. The messenger said: “Man has again begun to sing. Come is the date!” 162"

"People feel sometimes something singing within them. Such a song is never disharmonious. One can rejoice when such vibrations stir one’s being. 18."

"Among one’s human incarnations there is invariably found an incarnation devoted to rhythmic labor. Whether this be some sort of craftsmanship or music, singing or farm work, every man infallibly will cultivate in himself the rhythm which fills all of life. Upon learning of certain incarnations, people frequently are astonished as to why they should have been so insignificant. But in them there was being worked out the rhythm of labor. One of the greatest of qualities, this must be acquired through conflict and patience. 49."

"She loves to laugh; she loves to sing. She does everything."

"Sing, sing a song Sing out loud, sing out strong Sing of good things not bad Sing of happy not sad. Sing, sing a song Make it simple to last your whole life long Don't worry that it's not good enough For anyone else to hear Just sing, sing a song."

"A singer … is no more than an actor set to music."

"If I cannot sing where there is death, then I cannot sing in life, because life is a continuous death."

"Ce qui ne vaut pas la peine d'être dit, on le chante."

"Quien canta, sus males espanta."

"At every close she made, th' attending throng Replied, and bore the burden of the song: So just, so small, yet in so sweet a note, It seemed the music melted in the throat."

"Y'ought to hyeah dat gal a-warblin' Robins, la'ks an' all dem things Heish de mouffs an' hides dey faces When Malindy sings."

"Olympian bards who sung Divine ideas below, Which always find us young And always keep us so."

"I see you have a singing face — a heavy, dull, sonata face."

"When I but hear her sing, I fare Like one that raised, holds his ear To some bright star in the supremest Round; Through which, besides the light that's seen There may be heard, from Heaven within, The rests of Anthems, that the Angels sound."

"Then they began to sing That extremely lovely thing, "Scherzando! ma non troppo, ppp.""

"So she poured out the liquid music of her voice to quench the thirst of his spirit."

"He the sweetest of all singers."

"Sang in tones of deep emotion, Songs of love and songs of longing."

"God sent his Singers upon earth With songs of sadness and of mirth, That they might touch the hearts of men, And bring them back to heaven again."

"Ils chantent, ils payeront."

"Who, as they sung, would take the prison'd soul And lap it in Elysium."

"Or bid the soul of Orpheus sing Such notes as, warbled to the string, Drew iron tears down Pluto's cheek."

"O Carril, raise again thy voice! let me hear the song of Selma, which was sung in my halls of joy, when Fingal, king of shields, was there, and glowed at the deeds of his fathers."

"Sweetest the strain when in the song The singer has been lost."

"But would you sing, and rival Orpheus' strain. The wond'ring forests soon should dance again; The moving mountains hear the powerful call, And headlong streams hang listening in their fall!"

"You know you haven't got a singing face."

"Every night he comes With musics of all sorts and songs compos'd To her unworthiness: it nothing steads us To chide him from our eaves; for he persists As if his life lay on't."

"Thou hast by moonlight at her window sung With feigning voice verses of feigning love."

"O! she will sing the savageness out of a bear."

"His tongue is now a stringless instrument."

"Nay, now you are too flat And mar the concord with too harsh a descant."

"But one puritan amongst them, and he sings psalms to hornpipes."

"Sing again, with your dear voice revealing A tone Of some world far from ours, Where music and moonlight and feeling Are one."

"Sing, sing freely"

"If a singer knows only one song but makes the sound pleasant, he is indeed a singer! [...] When a singer's voice is sweet, he is indeed a singer."

"Good actors never use the script unless it's amazing writing. All the good actors I've worked with, they all say whatever they want to say."

"I wanted to stop acting. The director was like, 'It looks too real. It looks too painful. Can you be prettier when you cry? Cry pretty, Jessica. Don't do that thing with your face. Just make it flat. We can CGI the tears in.' And I'm like, But there's no connection to a human being. And then it got me thinking: Am I not good enough? Are my instincts and my emotions not good enough? Do people hate them so much that they don't want me to be a person? Am I not allowed to be a person in my work? And so I just said, 'F--k it. I don't care about this business anymore.'"

"I sometimes don’t enjoy it at all, and sometimes it feels like... breath."

"For an actress to be a success she must have the face of Venus, the brains of Minerva, the grace of Terpsichore, the memory of Macaulay, the figure of Juno, and the hide of a rhinoceros."

"It's not whether you really cry. It's whether the audience thinks you are crying."

"For the theatre one needs long arms; it is better to have them too long than too short. An artiste with short arms can never, never make a fine gesture."

"An actor's a guy, who if you ain't talking about him, ain't listening."

"Acting is the expression of a neurotic impulse. It's a bum's life. Quitting acting, that's the sign of maturity."

"The principal benefit acting has afforded me is the money to pay for my psychoanalysis."

"Acting is the least mysterious of all crafts. Whenever we want something from somebody or when we want to hide something or pretend, we're acting. Most people do it all day long."

"If a studio offered to pay me as much to sweep the floor as it did to act, I'd sweep the floor]. There isn't anything that pays you as well as acting while you decide what the hell you're going to do with yourself. Who cares about the applause? Do I need applause to feel good about myself?"

"The close-up says everything, it's then that an actor's learned, rehearsed behavior becomes most obvious to an audience and chips away, unconsciously, at its experience of reality. In a close-up, the audience is only inches away, and your face becomes the stage."

"When an actor has money, he doesn't send letters but telegrams."

"You know, the objective of all of the acting classes really was for you to show how you feel, and not to be clever and not to show all the tricks you could do a lot of people came there with some experience and a lot of times they would bring whatever tricks they had, to be entertaining to the classes. The teachers wanted to strip all those away, and say, "No, could you be emotionally honest onstage?" The first stage of emotional honesty, or at least the resistance to being emotionally honest, is to be angry. When anger doesn't work, you try crying. But those are all just defense mechanisms to shut off how you actually feel about everything. We all build these sort of walls to keep ourselves from showing our true emotions, because they can be seen as weaknesses."

"The thing about performance, even if it’s only an illusion, is that it is a celebration of the fact that we do contain within ourselves infinite possibilities."

"Through studying and through being raised on movie sets, I was surrounded by a lot of people who believed that the more tortured the person, the greater the artist. I always had a hard time understanding that, but thought, "I guess that's the way it is." Luckily, through life and the gift of the acting teacher who's changed my life in so many ways since 1984--her name is Sandra Seacat--I learned there's another opinion, which is: the better the person, the better the artist. The more true you are to who you are and the more honest you are as an individual, the more honest you can be as an actor, and I'm really liking that."

"I think that being an actor is a really good job. Of course, there are things you have to put up with. In order to create a real character from text on a page, you have to be extremely sensitive about various things, so it can impact one’s daily life."

"The question actors most often get asked is how they can bear saying the same things over and over again night after night, but God knows the answer to that is, don't we all anyway; might as well get paid for it."

"Unlike writers or painters, we don't sit down in front of a blank canvas and say, 'How do I start? Where do I start?' We're given the springboard of the text, a plane ticket, told to report to Alabama, and there's a group of people all ready to make a film and it's a marvelous life."

"We read the lines so that people can hear and understand them; we move about the stage without bumping into the furniture or each other; and, well that’s it."

"It was a character that I wanted to play my whole life and not one part of me was indifferent ... but I got incredibly uncomfortable with the attention that just came with that job. It was nothing to do with me, it was to do with this idea of celebrity. Hopefully I’m just more myself as I get older and as I grow, but in our culture they’re telling us to be something totally f--king different."

"An actor can practice anywhere any time with anybody, and most of them do."

"If I say this people will think I'm kidding, but I learned so much about acting working with those wolves on White Fang. If I were to run Juilliard right now, I would make them take a class where they worked with animals. Animals don't know how to lie, so you have to just be with them. Whenever you act weird, or seem like you have an agenda, or are worried about what your hair looks like, they leave the set. They're not interested."

"[S]he'd put a book on a chair and all you did was ask questions about that book: is it a good book or a lousy book? Who made the binding? Why don't I want to read it? Why would I want to read it? How long has it been sitting there? It's a very simple exercise but I do that all the time, constantly question myself and my surroundings, not in a negative way but in a positive way that leads toward my character."

"There are some actors today full of their own importance. They forget that years ago actors were not even second-class citizens. Back then, long before an actor learned makeup, he learned pickpocketing. It's publicity, and all that has made the actor's economic lot a lot better. And being on television has replaced pickpocketing. But I still don't know why actors have become so confoundedly important or why, for example, anybody would be interested in what I have to say. Who am I? Who are other actors? Especially with so many really important people around with really important things to say. Why aren't teachers and professors as awe-inspiring with the public as actors? What they do is certainly a bigger contribution to the welfare of society than what actors do."

"Alfred Hitchcock: You know that I think all actors are cattle? : Yes, I know—but I'm no actor."

"[T]he director passed off the phrase as one of his "Machiavellian quips," not to be taken seriously. "Let us say, rather, that actors are a necessary evil," he cautioned, with a straight face. "As a matter of fact, I couldn't work if I weren't on friendly terms with them; I'll bend over backward every time. Besides, I get into each picture I make, if only for a couple of seconds—so I'm probably a frustrated actor at heart myself.""

"It still goes. But Pat is the nicest cattle I've ever seen."

"The lower lip definitely states that all actors are cattle—including the authorǃ"

"Actors are cattle. I've always said actors are cattle. In fact, Carole Lombard once built a corral on set and put three live calves into it, in recognition of my feelings. I tell them that, and treat them as such, and we get along fineǃ"

"I was more intolerant in the days when I said actors were cattle and the director was the herder. Today I prefer to say actors are children and the wise director treats them that way."

"Then there is a dreadful story that I hate actors. Imagine anyone hating Jimmy Stewart or Jack, last of the . I cannot imagine how such a rumor began, though it may possibly be because I was once quoted as saying that actors are cattle. My actor friends know that I would never be capable of such a thoughtless, rude and unfeeling remark. What I probably said was that actors should be treated as cattle."

"How do you know you are an actor? Where does it begin, the desire to use yourself in this mysterious way? That fantasy was only one of many that helped me cope with a chaotic childhood. Is that kind of fantasy the beginning of an actor? Not for every child, certainly, but important it was to me and to my beginnings. For fantasy is what actors do—they pretend, they make believe, they imagine Lies Like Truth, as titled one of his books. The actor must find a way to make the fantasies given him by the playwright as connected, as important, as necessary to himself as mine were to my ten-year-old self."

"I told them it was an accident, but you know how superstitious actors are."

"Movie actors are just ordinary mixed-up people—with agents."

"What they teach in these acting schools is incredible, hair-raising crap. The Actors Studio in America is supposed to be the worst. There the students learn how to be natural - that is, they flop around, pick their noses, scratch their balls. This bullshit is known as "method acting." How can you "teach" someone to be an actor? How can you teach someone how and what to feel and how to express it? How can someone teach me how to laugh or cry? How to be glad and how to be sad? What pain is, or despair or happiness? What poverty and hunger are? What hate and love are? What desire is, and fulfillment? No, I don't want to waste my time with these arrogant morons."

"People call me an "actor". What's that? In any case, it has nothing to do with the shit that people have always blabbered about it. It's neither a vocation nor a profession - although it's how I earn my living. But then so does the two-headed freak at the carnival. It's something you have to try and live with - until you learn how to free yourself. It has nothing to do with nonsense like "talent," and it's nothing to be conceited or proud of."

"I am persuaded there is no triumph equal to one achieved on the stage—it comes so immediate and so home : you have before you the mass of human beings whose sympathies are at your will; you witness the emotions which you raise, you see the tears which you command : the poet has erected the statue, but it is for you to give it life—the words must find their music on your lips—the generous sentiment, the exalted hope, the touches of deep feeling, ask their expression from you : surely such influence is among the triumphs of the mind, ay and a great and noble triumph."

"Laymen always accuse actors of acting. Because we can portray genuine emotion, we're supposed to be unable to feel it. It's the oldest charge made against us."

"For the sake of narrowing this article’s scope, let’s clarify that a motion-capture actor like not a virtual actor. Serkis is paid as an actor is paid, he wears a costume as an actor does (in this case, a digital costume) and Gollum’s presence on screen still contains Serkis’s performance. (The chrome form of the T-1000 in "Terminator 2: Judgment Day," recreated in a computer from reference footage of , can also be considered this way for our purposes.) We’re only going to discuss the descendants of "" (1987), the computer animated short starring 3D approximations of Marilyn Monroe and Humphrey Bogart. This definition of a virtual actor can range from compositing a face or head onto a stand-in’s body (Brad Pitt in "The Curious Case of Benjamin Button," in "The Crow," in "Gladiator," in "Tron: Legacy") to using age smoothing software (also Pitt in "Benjamin Button," in "Captain America: Civil War," in "Guardians of the Galaxy") to creating an entire virtual body ( in "Deadpool"). Every example cited above is of a man, and every one of those actors got to appear in other scenes in those movies as their usual, sometimes wrinkly, unaugmented selves as well. (Wrinkly and unaugmented is how ’s avatar appeared in "Rogue One: A Star Wars Story," too.) Actresses barely get to appear wrinkly in movies anyway, and now with the advent of virtual possibilities Hollywood has jumped on the chance to find another way to exclude them based on age. I’m not the first critic to notice this— Nate Jones pointed it out in an article in Vulture in October of last year, touching on the other egregious example of a young virtual in "Rogue One".) When it came to creating the virtual Rachel, Young did have some involvement (presumably with her consent, and was presumably financially compensated. As much as Robert Downey, Jr. was for "Captain America: Civil War"? Probably not.)."

"Acting means telling the truth about things, about the world, even if it may seem like a contradiction. Because fiction is one thing, acting is another."

"I have turned roles down because they are rapists. It's something I don't even want to watch. If I even click on it on TV, I have to click it off or I'll put my foot through the screen... What you see on that screen is just my terror at having to do that scene."

"A motion picture must be true to life. If a picture portrays a false emotion it trains people seeing it to react abnormally."

"By the time an actor knows how to act any sort of part he is often too old to act any but a few."

"What I want to do is to become the part -- to leave Tomas Milian wherever he is and become the character."

"Acting is therefore the lowest of the arts, if it is an art at all."

"They wanted to "teach" me to act. But to act is natural. It is ten percent acting and ninety percent being smart."

"I’m not gonna lie, my first instinct—because I love —my first instinct was like, are you being serious? C’mon, man. We’re going too far now. You can’t—like, they’re actors. Actors are gonna act. If we get everyone who is the thing to be the thing, then it’s not acting, then it’s just the thing, it’s a documentary."

"He just wrote a really cogent, beautiful response online. Didn’t fight with anybody, didn’t call anybody anything, didn’t judge anybody. And he completely opened my eyes to a perspective I never thought of. He said, “I understand what an actor is. I, too, am an actor. But I’m an actor in a wheelchair, and I never see parts that are leading roles for a person in a wheelchair. And so the one time I see a role where there’s a person in a wheelchair, I think, wow, this could be it. This could be the moment where I have all of the tools necessary to play this part. Do I get a shot at playing it?” And he was like, “Because when you think of it on the flip side, they never call people with wheelchairs in to play able-bodied people, and they’ll get able-bodied people to play people in wheelchairs.” I never thought of it like that. My perspective, obviously, as someone who is not in a wheelchair—I just never thought of it that way. And I sat there and I was like, it’s powerful because you don’t think about representation, you don’t think about how important it is for people to see themselves onscreen in a real way. And at the same time, I don’t think Bryan Cranston did anything wrong. I don’t think everything has to be a fight. It’s just, like, a moment to be like, hey, maybe next time people in Hollywood can look at that and go, maybe you can get a relatively unknown actor to play that role and then put an A-lister opposite them and maybe this becomes their breakout. Maybe this becomes the thing that blows them up. And that’s where you realize how powerful representation is, because if you’re a person in a wheelchair, how many movies come along where the lead character is in a wheelchair? There’s virtually none. And even myself, I was like, oh man, I have to try and understand that a little bit more. It was eye-opening."

"I knew nothing about the theatre, and so asked the advice of my best friend among the players, , as to what I should do, and his advice was so extraordinary that I took it as a good joke until I noticed that I was creating chaos in the theatre. "Treat us as though we were children," he said shortly. "Nice children, of course; children that you're fond of, but not as grownups. And for God's sake, whatever you do, don't praise us. That drives us mad." It is the best advice that was ever given to a man of the theatre, if only he would be intelligent enough to appreciate it. I wasn't; not for a long time. Arthur never made a great reputation as an actor; he was far too discerning for that; and it was only when I had almost wrecked the company that I realized how discerning he was."

"I used to be under the impression that in some kind of wanky, bullshit way, acting was like therapy: you get in and grapple with and exorcise all those demons inside of you. I don't believe that anymore. It's like a snow shaker. You shake the thing up, but it can't escape the glass. It can't get out. And it will settle until the next time you shake it up."

"Acting is illusion, as much illusion as magic is — and not so much a matter of being real. I mean, I would probably shock ."

"If I wasn't an actor, I think I'd have gone mad. You have to have extra voltage, some extra temperament to reach certain heights. Art is a little bit larger than life — it's an exhalation of life and I think you probably need a little touch of madness."

"When you’re doing voice work, and I said it right when I came in the door, I said, ‘I’m very obedient, and I will take direction.” Because the people who have written this, and the ones who have been envisioning the animation in their head, they have such a specific concept on what they want, that it’s good for me to say, “Give it to me. Give me every piece of direction you want. I’ll do it 10 different ways. Whatever you want.” It’s their vision, and I want to achieve that. If I get an idea while I’m doing a voice, I will offer it … “Hey, can we try this?” But it’s still up to them."

"I always tell myself that when you’re playing a character, pretend like they’re on trial and you’re giving the best witness of their life. You really need to think about every element of the character and represent them properly, as if they were a real person. You want to give 100 percent of what they’re worth and what they deserve as people."

"I would never say Don't try it to people, but in my seminars Ill play demo CDs of actors with whom I work; they don't get as much work as I do but are every bit as talented. They have agents, they're members of the Screen Actors Guild and they cant get a job. The point I'm trying to make to these folks is, you need to know that there are people that they've never heard of who are really good and are going to get the call before you do. They've already got representation and have been here for five or 10 years. People aren't aware of how much competition there is; there are things I never even get a shot at and I've won an Emmy. I've done a couple 1,000 half-hours of work on a couple of 100 series and I still have to audition and still don't get everything I read for. That's the two big things: Knowing there's a lot of competition and realizing that its not all just a matter of doing funny voices. Its also acting, the ability to sing and improvise in your characters."

"Sandra believes that every part you play is really part of you, a way for you to work out something in your past, something in your present. Since then, whenever I've chosen to do something, I've thought, "well, this has nothing to do with me." Then, sure enough, once I get into it and really start doing the work, and really start uncovering, I see that it's absolutely about something that's going on in my life. It isn't something obvious. It's usually pretty hidden. But there's always some sort of parallel to what's going on in my own life. And so, perhaps you can use it to bring closure, as a healing, a reconnection. I believe in that. I believe in that."

"The adults who should have been there to protect me were my parents, not you…[but] you can’t underestimate how in awe of you people like them can be. They didn’t want to be an annoyance or an inconvenience to anyone, and it must have been daunting to imagine holding up 100 people for your kid."

"I don't mean to criticize anyone in any way that I wouldn't criticize myself. I think people should have fun, and have a good time, and enjoy the luck that we have to be lazy and dwell in consumerism. But I think that it's a balance. And our job as actors is empathy. Our job is to imagine what someone else's life is like. And if you can't do that in real life, if you can't do that as a human being, then good luck as an actor.... I just think it's an important thing to engage in the world. And it's just too easy not to in our society."

"Having to watch my own footage in the editing room completely changed me as an actor. I realised I was often doing the same thing every take, like I had picked the right way to do it and was just doing it over and over again. And, I was like: ‘Do something different!’ So I realised very late in the game how important it was to, like, really try different things."

"If I went to see Berma in a new play, it would not be easy for me to assess her art and her diction, since I should not be able to differentiate between a text which was not already familiar and what she added to it by her intonations and gestures, an addition which would seem to me to be embodied in the play itself; whereas the old plays, the classics which I knew by heart, presented themselves to me as vast and empty walls, reserved and made ready for my inspection, on which I should be able to appreciate without restriction the devices by which Berma would cover them, as with frescoes, with the perpetually fresh treasures of her inspiration."

"In music, the punctuation is absolutely strict, the bars and rests are absolutely defined. But our punctuation cannot be quite strict, because we have to relate it to the audience. In other words we are continually changing the score."

"The art of acting consists in keeping people from coughing."

"What goes on between an actor and the audience, at its best, is a dialogue. Sometimes you watch an actor on stage and somehow the performance isn’t getting through. The fourth wall is not only closed, it’s soundproofed. That’s because the actor isn’t connecting with the living and breathing human beings in the room with him. The audience feels the distance and they react accordingly. As an actor, you have to fire up your sensors at 100 percent all the time. You have to be in touch with all those heartbeats in the audience, connect with them. Sometimes during the Grinch performances, a child will shout out something. And I’ll turn right around, look them in the eye and respond to them."

"Acting is the most embarrassing business in the world. You never know when you're going to eat."

"Every now and then, when you're onstage, you hear the best sound a player can hear. It's a sound you can't get in movies or in television. It is the sound of a wonderful, deep silence that means you've hit them where they live."

"I accept or reject a film based on my conception of cinema. The definition of political cinema is one I don't agree with, because every film, every show, is typically political in nature. Political cinema is simply the brainchild of bad journalists. I try to make films that say something about the mechanisms of a society like ours, which correspond with some research of a shred of truth. For me, there is a need to understand the cinema as a means of mass communication, as well as the theater and television. Being an actor is a matter of choice that above all takes place at an existential level: either you express the conservative structures of society and are nothing more that a tool in the hands of power, or you address the progressive components of this society in an attempt to settle a revolutionary relation between art and life."

"I never wanted to be an actor, and to this day I don't. I can't get a handle on it. An actor wants to become someone else. I am a song-and-dance man and I enjoy being myself, which is all I can do."

"An actor entering through the door, you've got nothing. But if he enters through the window, you've got a situation."

"I think that people don’t realize how challenging that voice work can be. Because when we invite them into the booth, we will be asking them to do multiple scenes. And so we will be asking them to go from one emotion, to another, to another very quickly, and they have to be very nimble. And they don’t have the benefit of a costume, or a set, or even another actor to bounce off of, they have to conjure all of it up. And because we work in animation, it is very physical often times: it’s you’re crashing through a window or you’re on a motorcycle or you’re in a room by yourself or you’re in a room with ten people, they have to imagine that while they are doing it, and I am always so impressed by the guys that can do it, and we do ask them to do long sessions. And the stamina is also something I am very impressed by."

"James Bond was established by Ian Fleming as a white character, played by white actors. Play 003 or 006, but you cannot be 007. A lot of people say we should be allowed to play everything. Don’t be ridiculous. If I say I want to play JFK, I should be laughed out of the room. Black men should stop trying to play roles created by whites. These roles are not written for black men. We have pens [to create] roles that no one else has established."

"Farce follow'd Comedy, and reach'd her prime, In ever-laughing Foote's fantastic time; Mad wag! who pardon'd none, nor spared the best, And turn'd some very serious things to jest. Nor church nor state escaped his public sneers, Arms nor the gown, priests, lawyers, volunteers; "Alas, poor Yorick!" now forever mute! Whoever loves a laugh must sigh for Foote. We smile, perforce, when histrionic scenes Ape the swoln dialogue of kings and queens, When "Chrononhotonthologos must die," And Arthur struts in mimic majesty."

"As good as a play."

"After acting for so many years, do you know who you are anymore? Because actors are liars basically, you lie about who you are to an audience."

"But as for all the rest, There's hardly one (I may say none) who stands the Artist's test. The Artist is a rare, rare breed. There were but two, forsooth, In all me time (the stage's prime!) and The Other One was Booth."

"I think I love and reverence all arts equally, only putting my own just above the others; because in it I recognize the union and culmination of my own. To me it seems as if when God conceived the world, that was Poetry; He formed it, and that was Sculpture; He colored it, and that was Painting; He peopled it with living beings, and that was the grand, divine, eternal Drama."

"See, how these rascals use me! They will not let my play run; and yet they steal my thunder."

"Like hungry guests, a sitting audience looks: Plays are like suppers; poets are the cooks. The founder's you: the table is this place: The carvers we: the prologue is the grace. Each act, a course, each scene, a different dish, Though we're in Lent. I doubt you're still for flesh. Satire's the sauce, high-season'd, sharp and rough. Kind masks and beaux, I hope you're pepper-proof? Wit is the wine; but 'tis so scarce the true Poets, like vintners, balderdash and brew. Your surly scenes, where rant and bloodshed join. Are butcher's meat, a battle's sirloin: Your scenes of love, so flowing, soft and chaste, Are water-gruel without salt or taste."

"Prologues precede the piece in mournful verse, As undertakers walk before the hearse."

"Prologues like compliments are loss of time; 'Tis penning bows and making legs in rhyme."

"On the stage he was natural, simple, affecting,'Twas only that when he was off, he was acting."

"Everybody has his own theatre, in which he is manager, actor, prompter, playwright, sceneshifter, boxkeeper, doorkeeper, all in one, and audience into the bargain."

"It's very hard! Oh, Dick, my boy, It's very hard one can't enjoy A little private spouting; But sure as Lear or Hamlet lives, Up comes our master, Bounce! and gives The tragic Muse a routing."

"And Tragedy should blush as much to stoop To the low mimic follies of a farce, As a grave matron would to dance with girls."

"The drama's laws, the drama's patrons give. For we that live to please, must please to live."

"Who teach the mind its proper face to scan, And hold the faithful mirror up to man."

"This many-headed monster."

"A long, exact, and serious comedy; In every scene some moral let it teach, And, if it can, at once both please and preach."

"This is the Jew that Shakespeare drew."

"There still remains to mortify a wit The many-headed monster of the pit."

"To wake the soul by tender strokes of art, To raise the genius, and to mend the heart; To make mankind, in conscious virtue bold, Live o'er each scene, and be what they behold— For this the tragic Muse first trod the stage."

"Your scene precariously subsists too long, On French translation and Italian song. Dare to have sense yourselves; assert the stage; Be justly warm'd with your own native rage."

"Tom Goodwin was an actor-man, Old Drury's pride and boast, In all the light and spritely parts, Especially the ghost."

"The play bill which is said to have announced the tragedy of Hamlet, the character of the Prince of Denmark being left out."

"(The) play of limbs succeeds the play of wit."

"Lo, where the Stage, the poor, degraded Stage, Holds its warped mirror to a gaping age!"

"The play is done; the curtain drops, Slow falling to the prompter's bell: A moment yet the actor stops, And looks around, to say farewell. It is an irksome word and task: And, when he's laughed and said his say, He shows, as he removes the mask, A face that's anything but gay."

"In other things the knowing artist may Judge better than the people; but a play, (Made for delight, and for no other use) If you approve it not, has no excuse."

"When you have a cause, the best way to express yourself is artistically."

"The coming extinction of art is prefigured in the increasing impossibility of representing historical events."

"Art is magic delivered from the lie of being truth."

"I have this very what you call today "square" idea that art is something that makes you breathe with a different kind of happiness."

"Technique without art is shallow and doomed. Art without technique is insulting."

"I make art because it centers me in my body, and by doing so I hope to offer that experience to someone else."

"The arts are a wonderful medicine for the soul."

"Art would not be important if life were not important, and life is important."

"One writes out of one thing only — one's own experience. Everything depends on how relentlessly one forces from this experience the last drop, sweet or bitter, it can possibly give. This is the only real concern of the artist, to recreate out of the disorder of life that order which is art."

"Art is made by the alone for the alone."

"Scientific pictures are often not just about science. They may... have an undeniable aesthetic quality. They may even have been primarily works of art that possess a scientific message."

"Pop art is the inedible raised to the unspeakable."

"Art constitutes a minor free zone outside action, paying for its freedom by giving up the real world. A heavy price!"

"Importantly, in Europe the question of art has been inscribed into religious pictures since the Renaissance. Here the rise of art marked a turning point in the history of images which is foundational for art history. Pictures not only carried the names of artists, but displayed their personal views on religion. The practice of art began without a fixed concept of art. But it developed specific evidence that distinguishes works of art. The notion of art emerged in the heart of the religious picture, with the themes still remaining the same. In an evolving market, personal artistic style became a brand in its own right. In the French writings of the time, “art” is introduced with the term “science”, while “art” refers to craft. The concept of Poesia, used much later by Titian when referring to his own pictures with mythological subjects, had hitherto been the privilege of poets. Giovanni Bellini defended the “bella fantasia” against the expectations of his patrons, thereby initiating the era of art collections."

"Henry Letham: Bad art is more tragically beautiful than good art, because it documents human failure."

"Thus Orpheus, arguably the most prevalent symbol for Art in the Western world, shows us both the power and limitations of the whole venture. Yes, it might feel like you’re conquering death when you play that song, paint that picture, compose that poem, or type that story. Yes, you might experience the sensation of escaping the everyday world, perhaps even your own mortality, upon hearing, watching, and reading the best artistic examples. But the feeling is illusory, Orpheus tells us. The feeling is, after all, just a feeling."

"Any great work of art … revives and readapts time and space, and the measure of its success is the extent to which it makes you an inhabitant of that world — the extent to which it invites you in and lets you breathe its strange, special air."

"There abides in nature a certain form of matter which, being discovered and brought by art to perfection, converts to itself, proportionally, all imperfect bodies that it touches. ...It rested on the indisputable appearance of an indefinite cycle of transformations, reproducing themselves in chemical operations, without either beginning or end."

"No work of art is worth the bones of a Pomeranian Grenadier."

"Degrade first the arts if you'd mankind degrade, Hire idiots to paint with cold light and hot shade."

"A writer — and, I believe, generally all persons — must think that whatever happens to him or her is a resource. All things have been given to us for a purpose, and an artist must feel this more intensely. All that happens to us, including our humiliations, our misfortunes, our embarrassments, all is given to us as raw material, as clay, so that we may shape our art."

"Art...has always been a polite form of terrorism."

"Art that matters creates a context of meaning which draws on the most basic experiences of being in a world that makes, albeit transient, sense. Such experiences can be of the kind which children have that determine their subsequent responses to the world, which we have when gripped by a natural scene of great beauty, or when we experience the world in a way which makes new sense by falling in love. The difficulty of modern art is in this respect a reflection of the extent to which such experiences have become lost, neglected, repressed, or commodified in many areas of modern society, and so need new ways of being articulated and expressed.... [But] If what is aimed for in both art and philosophy is a wholesale critical response to the totalizing nature of the commodified world, the danger is that they will mirror what they oppose."

"Major art does involve a kind of rightness which reveals what is wrong with art which does not possess this rightness. Aesthetic flaws in this sort of situation are akin to logical flaws, because it can be shown why they are not right in the context in which they occur."

"While our art cannot, as we wish it could, save us from wars, privation, envy, greed, old age, or death, it can revitalize us amidst it all."

"It's true that things are beautiful when they work. Art is function."

"So heißt unparteiisch sein für die Kunst nur: zur herrschenden Partei gehören."

"Art today can only be revolutionary, that is, it must aspire at the complete and radical reconstruction of society, even if for no other reason than to emancipate intellectual creation from the chains which obstruct it and to allow all mankind to rise to the heights that only geniuses could reach in the past."

"How in its naked self Reason wer powerless showeth when philosophers wil treat of Art, the which they are full ready to do, having good intuition that their master-key may lie therein: but since they must lack vision of Art (for elsewise they had been artists, not philosophers) they miss the way; and ev'n the Greeks themselves, supreme in making as in thinking, never of their own art found the true hermeneutick."

"Now nature is not at variance with art, nor art with nature; they being both the servants of his providence. Art is the perfection of nature. Were the world now as it was the sixth day, there were yet a chaos. Nature hath made one world, and art another. In brief, all things are artificial; for nature is the art of God."

"What is art But life upon the larger scale, the higher, When, graduating up in a spiral line Of still expanding and ascending gyres, It pushed toward the intense significance Of all things, hungry for the Infinite? Art's life—and where we live, we suffer and toil."

"It is the glory and good of Art, That Art remains the one way possible Of speaking truth, to mouths like mine at least."

"The Neo-Platonic background, which furnished the metaphysical justification for much of this mathematical development (at least as regards its bearing on astronomy) awoke Kepler's full conviction and sympathy. Especially did the aesthetic satisfactions gained by this conception of the universe as a simple, mathematical harmony, appeal vigorously to his artistic nature."

"I think it’s unconstitutional when art is used against an artist to implicate them in a crime. The First Amendment provides that people have free expression, and I think with Black men the lens — we’re evaluated almost exclusively through a criminal lens. And so what would be art in the eyes of, or at the creation of, one person becomes a crime when it’s created by a young Black man. Again, it’s good that the judges pushed back against those attacks on 2Pac’s artistry and his constitutional right, but we’ve seen that since that time, prosecutors have continued to use rap lyrics to try to chill free expression."

"If the world were clear, art would not exist."

"Art isn't just technique, in any culture…it's also Content. It's understanding not just How, but also What, to express."

"Art is the triumph over chaos."

"Art, like morality, consists in drawing the line somewhere."

"A fairly clear line separated advertisement from art. ... The first effect of the triumph of the capitalist (if we allow him to triumph) will be that that line of demarcation will entirely disappear. There will be no art that might not just as well be advertisement."

"The history of art is that there have been alot of artists who have always been socially engaged and art comes out of both a desire to define the meaning of life and a kind of rage and railing against human limitations."

"Without tradition, art is a flock of sheep without a shepherd. Without innovation, it is a corpse."

"Etenim omnes artes, quæ ad humanitatem pertinent, habent quoddam commune vinculum, et quasi cognatione quadam inter se continentur."

"The purpose of art is expression. Of course this short sentence raises many questions. By itself it is uninformative. One should specify what art can and cannot express. One should specify what art should and should not express. These questions cannot be answered without having some notion of the nature of man. Here it is presupposed that God created man as essentially a rational being. This implies that man’s most valuable expressions are rational and intellectual. Therefore, although man can express emotion, by screaming “Ouch,” art becomes more human and valuable in proportion to its intellectual content. This does not deny that excellent technique may express triviality, evil, and insanity. It asserts, however, that what should be expressed is rational and intelligent."

"The division between art and obscene pornography is a Western conception. There was no sense in Japan that sex or sexual pleasure was sinful."

"Wherever rights are denied the poor, the prophetic anger is turned not merely against the incumbent rulers but equally against the means society employs to gloss over its own mendacity. And foremost among these means is art. Catering to luxury and emphasizing only the beautiful, art denies the fact that wretchedness and destitution have a tight grip on the poor. This is the reason why the prophetic zeal turned against art, and not merely against the luxury of women and the pretentiousness of the rich."

"There is no more sombre enemy of good art than the pram in the hall."

"All creative art is magic, is evocation of the unseen in forms persuasive, enlightening, familiar and surprising, for the edification of mankind, pinned down by the conditions of its existence to the earnest consideration of the most insignificant tides of reality."

"I do a bale of sketches, one eye, a piece of hair. A pound of observation, then an ounce of painting."

"The desire to be loved is really death when it comes to art."

"Drawing is the honesty of the art. There is no possibility of cheating. It is either good or bad."

"L'arte vostra quella, quanto puote, Seque, come il maestro fa il discente; Si che vostr'arte a Dio quasi è nipote."

"Bringing reality to life has at once been the problem and the promise of pictorial art."

"Progressive art can assist people to learn not only about the objective forces at work in the society in which they live, but also about the intensely social character of their interior lives. Ultimately, it can propel people toward social emancipation."

"Art [...] should not attempt to set up idols; it should reveal existence as a reason for existing."

"Art reveals the transitory as an absolute; and as the transitory existence is perpetuated through the centuries, art too, through the centuries, must perpetuate this never-to-be-finished revelation."

"Roger Lundin surveys the history of Christian engagement with the arts, noting that the Reformation and Romantic movements, which encouraged inwardness and freedom as opposed to the new science of impersonal laws of nature, scuttled medieval contemplation, which had enabled art as mimesis of an enchanted cosmos. Modernists and fundamentalists in the twentieth century ironically shared a common aversion to nature and culture, positing a Manichean divide between the material and spiritual worlds. In the mid-twentieth century, evangelicals began to call for reengagement with culture, but with the exception of Dutch Calvinists were handicapped by shallow theology and limited cultural understanding. Lundin suggests that black church music has been evangelicalism’s greatest contribution to the arts, and highlights contemporary evangelical thinkers such as Wolterstorff, Begbie, and Vanhoozer, who in their different ways see art as useful action."

"Art is the beautiful illustration of Truth from the creative imagination. The truth is in our life and unless it comes from the formlessness to the form we do not realize it."

"Art is the complement of science. Science as I have said is concerned wholly with relations, not with individuals. Art, on the other hand, is not only the disclosure of the individuality of the artist but also a manifestation of individuality as creative of the future, in an unprecedented response to conditions as they were in the past. Some artists in their vision of what might be but is not, have been conscious rebels. But conscious protest and revolt is not the form which the labor of the artist in creation of the future must necessarily take. Discontent with things as they are is normally the expression of the vision of what may be and is not, art in being the manifestation of individuality is this prophetic vision."

"Art is not the possession of the few who are recognized writers, painters, musicians; it is the authentic expression of any and all individuality. Those who have the gift of creative expression in unusually large measure disclose the meaning of the individuality of others to those others. In participating in the work of art, they become artists in their activity. They learn to know and honor individuality in whatever form it appears. The fountains of creative activity are discovered and released. The free individuality which is the source of art is also the final source of creative development in time."

"...the significant problems and issues of life and philosophy concern the rate and mode of the conjunction of the precarious and the assured, the incomplete and the finished, the repetitious and the varying, the safe and sane and the hazardous. ...these traits, and the modes and tempos of their interaction with each other, are fundamental features of natural existence. The experience of their various consequences, according as they are relatively isolated, unhappily or happily combined, is evidence that wisdom, and hence the love of wisdom which is philosophy, is concerned with choice and administration of their proportioned union. Structure and process, substance and accident, matter and energy, permanence and flux, one and many, continuity and discreetness, order and progress, law and liberty, uniformity and growth, tradition and innovation, rational will and impelling desires, proof and discovery, the actual and the possible, are names given to various phases of their conjunction, and the issue of living depends upon the art with which these things are adjusted to each other."

"The main thing to understand is that we are imprisoned in some kind of work of art."

"There is an art of reading, as well as an art of thinking, and an art of writing."

"All passes, Art alone Enduring stays to us; The Bust out-lasts the throne,— The coin, Tiberius."

"I'm a working writer and I dare call myself an artist. I do not feel marginal to this society but ra-ther deeply involved in its practical working life. My work provides employment to others--editors, typesetters, publishers, binders, newspaper critics, booksellers, teachers, movie actors and directors, and set designers and videotape store managers. Painters provide employment for printmakers, publishers, gallery owners and workers, art critics, TV documentarians, museum cu-rators and museum guards. The work of artists in every medium provides jobs and stimulates the economy. The NEA has generally funded younger writers at the beginning of their careers--so that they too, presumably will be in a position one day to generate jobs for others. All artists are, eco-nomically speaking, small businessmen. Perhaps we should be testifying before the Small Business Bureau."

"I am one who tells the truth and exposes evil and seeks with Beauty for Beauty to set the world right."

"You think you're doing something entirely your own, and a year later, you look at it and you see actually the roots of where your art comes from without your knowing it at all."

"All religions, arts and sciences are branches of the same tree. All these aspirations are directed toward ennobling man's life, lifting it from the sphere of mere physical existence and leading the individual towards freedom. It is no mere chance that our older universities developed from clerical schools. Both churches and universities — insofar as they live up to their true function — serve the ennoblement of the individual. They seek to fulfill this great task by spreading moral and cultural understanding, renouncing the use of brute force."

"Art can only flourish in total freedom. In an artists’ assembly I recently stated: The artist must, as an artist, be an anarchist and as a member of society, as a citizen dependent on the bourgeoisie for the necessities of life, a socialist. The state can give the artist no other advice than that he freely and independently follow his innermost impulses, and that is the best the state can do to encourage art: that it gives the artist complete freedom of his artistic action. Its concern, and its justified concern, is that the artist be able to live, that he be able to exist as an economic entity."

"What happens when a new work of art is created, is something that happens simultaneously to all the works of art which preceded it. The existing monuments form an ideal order among themselves, which is modified by the introduction of the new (the really new) work of art among them. The existing order is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered; and so the relations, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new."

"Immature poets imitate; mature poets steal."

"Art was not reality—it was only the appearance of reality."

"And thus I arrive at the foundation of my theory about art as a vehicle for dissent: the fury and purity of the creator’s need to say something motivates the work, but he forms it from logic and craft and honesty and when the propaganda value has faded into last week’s imperative, the art remains behind and stands on its own merits."

"The conscious utterance of thought, by speech or action, to any end, is art."

"Rationality is what we do to organize the world, to make it possible to predict. Art is the rehearsal for the inapplicability and failure of that process."

"In the far north, where humans must face the constant threat of starvation, where life is reduced to the bare essentials—it turns out that one of these essentials is art. Art seems to belong to the basic pattern of life of the Eskimo, and of the neighboring Athapaskan and Algonkian Indian bands as well."

"All art is autobiographical; the pearl is the oyster's autobiography."

"No government has the right to decide on the truth of scientific principles, nor to prescribe in any way the character of the questions investigated. Neither may a government determine the aesthetic value of artistic creations, nor limit the forms of literacy or artistic expression. Nor should it pronounce on the validity of economic, historic, religious, or philosophical doctrines. Instead it has a duty to its citizens to maintain the freedom, to let those citizens contribute to the further adventure and the development of the human race."

"Art is necessary in order that man should be able to recognize and change the world. But art is also necessary by virtue of the magic inherent in it."

"Reason...to suppose any production, worthy to be called a work of art, can be made without its use is foolish. ...By the use of reason many mistakes in design may be avoided and many counterfeits of art readily detected....Beauty alone is an excellent reason for many things, but when a design is in direct conflict with common sense it cannot be a work of art."

"A master in art need not go into the highways and byways for affects; he knows the straight course and follows it. ...With dignity and simplicity come repose... the natural state of one at home in his surroundings and sure of his ground."

"[A]n association called La Peau de l'Ours... had been founded in 1904 by André Level for the express purpose of buying modern art, holding it for ten years, and then selling it for a substantial profit. ...[T]he group acquired 145 works, including ten paintings by Matisse and a dozen paintings and drawings by Picasso. ...[T]he investors believed their undertaking could further the cause of modern art by establishing a sound value for it. ...[T]hey agreed that each living artist would receive 20 percent of the profit from the resale... (Not until 1920 would this resale principle, known as ', be incorporated into French law.)"

"One must not always think that feeling is everything. Art is nothing without form. (12 August 1846)"

"One becomes a critic when one cannot be an artist, just as a man becomes a stool pigeon when he cannot be a soldier. (22 October 1846)"

"You can calculate the worth of a man by the number of his enemies, and the importance of a work of art by the harm that is spoken of it. (14 June 1853)."

"Great artists are people who find the way to be themselves in their art. Any sort of pretension induces mediocrity in art and life alike."

""Collective art,"… is not an individual "leisure time" occupation, added to life, it is an integral part of life. It corresponds to a basic human need, and if this is not fulfilled, man remains as insecure and anxious as if the need for a meaningful thought picture of the world were unrealized."

"In order to grow out of the receptive into the productive orientation, he [man] must relate himself to the world artistically and not only philosophically or scientifically."

"There is undoubtedly a difference between people who manipulate other people and people who create things."

"A relatively primitive village in which there are still real feasts, common artistic shared expressions, and no literacy at all—is more advanced culturally and more healthy mentally than our educated, newspaper-reading radio-listening culture."

"The need for the creation of collective art and ritual on a nonclerical basis is at least as important as literacy and higher education."

"The transformation of an atomistic into a communitarian society depends on creating again the opportunity for people to sing together, walk together, dance together, admire together—together, and not, to use Riesman's succinct expression, as a member of a "lonely crowd.""

"On the whole, our modern ritual is impoverished and does not fulfill man's need for collective art and ritual."

"But there is a solution, there is an answer, there is redemption available for all of us and any one of us, and to the Catholic Church, funny enough I think it is a novel by Morris West, The Pope could decide that all this power, all this wealth, this hierarchy of princess, bishops, archbishops, priests, monks, and nuns could be sent out in the world with money and art treasures, to put them back in the countries that they once raped and violated, whose original systems of animism and belief in simplicity they told them would (tell them) take them straight to hell. They could give that money away, and they could concentrate on the apparent essence of their belief. Then, I would stand here and say the Catholic Church may well be a force for good in the world. But until that day, it is NOT."

"I don't consider myself an artist. I go out there and I try to play what's right for the music. It seems to be a much more open approach and it would seem to allow me to be able to expand as the music of the time expands. I think people who get hung up in their own artistry often get into a certain style they think is them and if they do anything different the public won't be able to identify their artistry, which is kind of limiting. I don't think that way. I have a good time playing. I try to play the best I can. I know I can play the drums and I want to play the best that I can possibly play. I want to play better a year from now than I'm playing now, not because my artistry is at stake, but just because I like it."

"Do we not say that the judicious discovering of a most lovely Statua in a piece of Marble, hath sublimated the wit of Buonarruotti far above the vulgar wits of other men? And yet this work is onely the imitation of a meer aptitude and disposition of exteriour and superficial mem­bers of an immoveable man; but what is it in comparison of a man made by nature, composed of as many exteriour and inte­riour members, of so many muscles, tendons, nerves, bones, which serve to so many and sundry motions? but what shall we say of the senses, and of the powers of the soul, and lastly, of the understanding? May we not say, and that with reason, that the structure of a Statue falls far short of the formation of a living man, yea more of a contemptible worm?"

"If I behold a statue of some excellent master, I say with my self: "When wilt thou know how to chizzle away the refuse of a piece of Marble, and discover so lovely a figure as lyeth hid therein? When wilt thou mix and spread so many colors upon a Cloth, or Wall, and represent therewith all visible objects, like a Michael Angelo, a Raphaello, or a Tizvano? If I behold what invention men have had in comparting Musical intervals, in establishing Precepts and Rules for the management thereof with admirable delight to the ear, when shall I cease my astonishment? What shall I say of such and so various instruments of that Art? The reading of excellent Poets, with what admiration doth it swell anyone who attentively considereth the invention of concepts and their explanation? What shall we say of Architecture? What of Navigation? But, above all other stupendous inventions, what sublimity of mind was that in him, that imagined to himself to find out a way to communicate his most secret thoughts to any other person, though very far distant from him either in time or place, speaking with those that are in the Indies, speaking to those who are not yet born, nor shall be this thousand, or ten thousand years? And with how much facility? but by the various collection of twenty-four little letters upon a paper?"

"Art is that imaginative expression of human energy, which, through technical concretion of feeling and perception, tends to reconcile the individual with the universal, by exciting in him impersonal emotion. And the greatest Art is that which excites the greatest impersonal emotion in an hypothecated perfect human being."

"Art is the one form of human energy in the whole world, which really works for union, and destroys the barriers between man and man. It is the continual, unconscious replacement, however fleeting, of oneself by another; the real cement of human life; the everlasting refreshment and renewal. For, what is grievous, dompting, grim, about our lives is that we are shut up within ourselves, with an itch to get outside ourselves. And to be stolen away from ourselves by Art is a momentary relaxation from that itching, a minute's profound, and as it were secret, enfranchisement. The active amusements and relaxations of life can only rest certain of our faculties, by indulging others; the whole self is never rested save through that unconsciousness of self, which comes through rapt contemplation of Nature or of Art."

"Slowly, under our feet, beneath our consciousness, is forming that new philosophy, and it is in times of new philosophies that Art, itself in essence always a discovery, must flourish."

"Truth admits but the one rule: No deficiency, and no excess! Disobedient to that rule — nothing attains full vitality. And secretly fettered by that rule is Art, whose business is the creation of vital things."

"He is but a poor philosopher who holds a view so narrow as to exclude forms not to his personal taste. No realist can love romantic Art so much as he loves his own, but when that Art fulfils the laws of its peculiar being, if he would be no blind partisan, he must admit it. The romanticist will never be amused by realism, but let him not for that reason be so parochial as to think that realism, when it achieves vitality, is not Art. For what is Art but the perfected expression of self in contact with the world; and whether that self be of enlightening, or of fairy-telling temperament, is of no moment whatsoever. The tossing of abuse from realist to romanticist and back is but the sword-play of two one-eyed men with their blind side turned toward each other. Shall not each attempt be judged on its own merits? If found not shoddy, faked, or forced, but true to itself, true to its conceiving mood, and fair-proportioned part to whole; so that it lives — then, realistic or romantic, in the name of Fairness let it pass! Of all kinds of human energy, Art is surely the most free, the least parochial; and demands of us an essential tolerance of all its forms. Shall we waste breath and ink in condemnation of artists, because their temperaments are not our own?"

"Art is the great and universal refreshment. For Art is never dogmatic; holds no brief for itself; you may take it, or you may leave it. It does not force itself rudely where it is not wanted. It is reverent to all tempers, to all points of view. But it is wilful — the very wind in the comings and goings of its influence, an uncapturable fugitive, visiting our hearts at vagrant, sweet moments; since we often stand even before the greatest works of Art without being able quite to lose ourselves! That restful oblivion comes, we never quite know when — and it is gone! But when it comes, it is a spirit hovering with cool wings, blessing us from least to greatest, according to our powers; a spirit deathless and varied as human life itself."

"L'Art supreme Seule a l'eternité Et le buste Survit la cité."

"The five genres of horror, porn, melodrama, suspense and comedy correspond to five bodily excretions: Vomit, semen, tears, sweat and urine. And each genre aims to bring about one of these excretions: Melodrama wants tears, porn wants semen, horror wants vomit, suspense wants sweat. Comedy wants two things: people should either piss themselves with laughter or laugh themselves to tears. That is the difference to high art: all five genres clearly want to have the consumer thrown out of gear."

"Whores are the most honest girls. They present the bill right away. The others hang on and never let go."

"The great artists are the ones who dare to entitle to beauty things so natural that when they’re seen afterward, people say: Why did I never realize before that this too was beautiful?"

"Art attracts us only by what it reveals of our most secret self."

"I dream my painting, and then I paint my dream."

"As all Nature's thousand changes But one changeless God proclaim; So in Art's wide kingdom ranges One sole meaning still the same: This is Truth, eternal Reason, Which from Beauty takes its dress, And serene through time and season Stands for aye in loveliness."

"Peter Griffin: What's the difference between art and pornography... a government grant!"

"His pencil was striking, resistless, and grand; His manners were gentle, complying, and bland; Still born to improve us in every part, His pencil our faces, his manners our heart."

"The canvas glow'd beyond ev'n nature warm; The pregnant quarry teem'd with human form."

"The perfection of an art consists in the employment of a comprehensive system of laws, commensurate to every purpose within its scope, but concealed from the eye of the spectator; and in the production of effects that seem to flow forth spontaneously, as though uncontrolled by their influence, and which are equally excellent, whether regarded individually, or in reference to the proposed result."

"Let me formulate the artistic disposition as follows: it is reacting with one’s ideal to the flaw in oneself and in the world, and somehow making that reaction formation solid enough in the medium so that it indeed becomes an improved bit of real world for others."

"Perhaps there is no other way of reaching some understanding of being than through art?"

"One cannot condemn tendencies in art; one can only condemn works of art. To be categorically against a current art tendency or style means, in effect, to pronounce on works of art not yet created and not yet seen. It means inquiring into the motives of artists instead of into results. Yet we all know — or are supposed to know — that results are all that count in art."

"The artistic contribution of any nation and any age must be in terms of creation. Performers, symphony organizations, opera houses, museums, libraries - important as they are - are not enough. The arts, if they are to live, must be living arts."

"To find ourselves spoken for in art gives dignity to our pain, our anger, our losses."

"The artistic decline we are seeing culturally is very prominent, very clear right now if you just look at what people are accepting as art. It affects me personally because art culture is something so important to me; art affects me and it means so much to me whether it be music, literature, fashion, design, fine art — it's all so important, I think it's really what, at least for me, it's what life is about, it’s what’s important, it’s what’s moving, it’s what inspires you, it’s what life is about. So when we’re seeing such decline in that art culture right now it’s heartbreaking to me."

"Like Duchamp's 'ready mades' - manufactured objects which qualified as art because he chose to call them such, the most unremarkable and inappropriate items - a pin, a plastic clothes peg, a television component, a razor blade, a tampon - could be brought within the province of punk (un)fashion...Objects borrowed from the most sordid of contexts found a place in punks' ensembles; lavatory chains were draped in graceful arcs across chests encased in plastic bin liners. Safety pins were taken out of their domestic 'utility' context and worn as gruesome ornaments through the cheek, ear or lip...fragments of school uniform (white bri-nylon shirts, school ties) were symbolically defiled (the shirts covered in graffiti, or fake blood; the ties left undone) and juxtaposed against leather drains or shocking pink mohair tops."

"This is precisely what is decisive in Nietzsche’s conception of art, that he sees it in its essential entirety in terms of the artist; this he does consciously and in explicit opposition to that conception of art which represents it in terms of those who “enjoy” and “experience” it. That is a guiding principle of Nietzsche’s teaching on art: art must be grasped in terms of creators and producers, not recipients. Nietzsche expresses it unequivocally in the following words (WM, 811): “Our aesthetics heretofore has been a woman’s aesthetics, inasmuch as only the recipients of art have formulated their experiences of ‘what is beautiful.’ In all philosophy to date the artist is missing.” Philosophy of art means “aesthetics” for Nietzsche too—but masculine aesthetics, not feminine aesthetics. The question of art is the question of the artist as the productive, creative one; his experiences of what is beautiful must provide the standard."

"When we represent a group of connections by a closed and coherent set of concepts, axioms, definitions and laws which in turn are represented by a mathematical scheme we have in fact isolated and idealized this group of connections with the purpose of clarification. But... it is not known how accurately the set of concepts describes reality. These idealizations may be called a part of the human language that has been formed from the interplay between the world and ourselves, a human response to the challenge of nature. In this respect they may be compared to the different styles of art, say of architecture or music. A style of art can also be defined by a set of formal rules which are applied to the material of this special art. These rules can perhaps not be represented in a strict sense by a set of mathematical concepts and equations, but their fundamental elements are very closely related to the essential elements of mathematics. Equality and inequality, repetition and symmetry, certain group structures play the fundamental role both in art and in mathematics."

"Usually the work of several generations is needed to develop that formal system which later is called the style of the art, from its simple beginning to the wealth of elaborate forms... The interest of the artist is concentrated on this crystallization, where the material... takes, through his action, the various forms that are initiated by the first formal concepts of this style. After completion the interest must fade again, because... "interest" means... to be with... to take part in a process of life... [H]ow far the formal rules of style represent that reality of life which is meant by the art cannot be decided from the formal rules."

"Art is always an idealization; the ideal is different from reality—at least from the reality of the shadows, as Plato would have put it—but idealization is necessary for understanding."

"If the subject of art will be a broken jug a small broken soul with a great self-pity what will remain of us will be like tears of lovers in a small dirty hotel when wallpapers dawn"

"Art quickens nature; care will make a face; Neglected beauty perisheth apace."

"One thing, however, did become clear to him [Goldmund] – why so many perfect works of art did not please him at all, why they were almost hateful and boring to him, in spite of a certain undeniable beauty. Workshops, churches, and palaces were full of these fatal works of art; he had even helped with a few himself. They were deeply disappointing because they aroused the desire for the highest and did not fulfill it. They lacked the most essential thing – mystery. That was what dreams and truly great works of art had in common: mystery."

"Ars longa, vita brevis est."

""Works of art" which cannot be understood in themselves but, for the justification of their existence, need those bombastic instructions for their use, finally reaching that intimidated soul, who is patiently willing to accept such stupid or impertinent nonsense—these works of art from now on will no longer find their way to the German people."

"I have observed among the pictures submitted here, quite a few paintings which make one actually come to the conclusion that the eye shows things differently to certain human beings than the way they really are, that is, that there really are men who see the present population of our nation only as rotten cretins; who, on principle, see meadows blue, skies green, clouds sulphur yellow, and so on, or, as they say, experience them as such. I do not want to enter into an argument here about the question of whether the persons concerned really do or do not see or feel in such a way; but, in the name of the German people, I want to forbid these pitiful misfortunates who quite obviously suffer from an eye disease, to try vehemently to foist these products of their misinterpretation upon the age we live in, or even to wish to present them as "Art.""

"The proof of the endowment of a true artist is always to be found in the fact that his work of art expresses the general will of a period. Perhaps that is most clearly shown in architecture .... The religious mystical world of the Christian Middle Ages, turning inwards upon itself, found forms of expression which were possible only for that world. A Gothic stadium is as unthinkable as a Romanesque railway station or a Byzantine market hall. The way in which the artist of the Middle Ages, of the beginnings of the modern world, found the artistic solution for the buildings which he was commissioned to create is in the highest degree striking and admirable. That way, however, is no evidence that the conception of the content of life held by the folk of his day was in itself either absolutely right or absolutely wrong. It is evidence only that works of art have rightly mirrored the inner mind of a past age. It is therefore quite comprehensible that insofar as the attempt is made to carry on the life of that past age, those who search for solutions of artistic problems can still seek and find there fruitful suggestions."

"It is not the mission of art to wallow in filth for filth's sake, to paint the human being only in a state of putrefaction, to draw cretins as symbols of motherhood, or to present deformed idiots as representatives of manly strength. Art must be the handmaiden of sublimity and beauty and thus promote whatever is natural and healthy. If art does not do this, then any money spent on it is squandered."

"In proportion as we add to mere variety a higher appreciation of those adaptations of matter which are due to human skill, and which we call Art, we pass outside the limits of matter and are no longer the slaves of roods and acres and a law of diminishing returns."

"In proportion as a community comes to substitute a qualitative for a quantitative standard of living, it escapes the limitations imposed by matter upon man. Art knows no restrictions of space or size, and in proportion as we attain the art of living we shall be likewise free."

"Edward G. Robinson: Who knows, the woman who posed for the Mona Lisa might have been the evilest woman in the world."

"The temple of art is built of words. Painting and sculpture and music are but the blazon of its windows, borrowing all their significance from the light, and suggestive only of the temple's uses."

"It is not strength, but art, obtains the prize, And to be swift is less than to be wise. 'Tis more by art, than force of numerous strokes."

"I do believe that our lives and our art go together. Who I am and what I write are the same."

"These struggles have got to result in happy endings for all, and the readers must learn not to worship tragedy as the highest art any more."

"There's a redemption that takes place in art"

"Pictoribus atque poetis Quidlibet audendi semper fuit æqua potestas."

"[Odysseus] knows only two possibilities of escape. One he prescribes to his comrades. He plugs their ears with wax and orders them to row with all their might. Anyone who wishes to survive must not listen to the temptation of the irrecoverable, and is unable to listen only if he is unable to hear. Society has always made sure that this was the case. Workers must look ahead with alert concentration and ignore anything which lies to one side. The urge toward distraction must be grimly sublimated in redoubled exertions. Thus the workers are made practical. The other possibility Odysseus chooses for himself, the landowner, who has others to work for him. He listens, but does so while bound helplessly to the mast. ... The bonds by which he has irrevocably fettered himself to praxis at the same time keep the Sirens at a distance from praxis: their lure is neutralized as a mere object of contemplation, as art."

"While I know that the beautiful, the spiritual and the sublime are today suspect I have begun to stop resisting the constant urge to deny that beauty has a valid right to exist in contemporary art."

"My idea of a perfect surrealist painting is one in which every detail is perfectly realistic, yet filled with a surrealistic, dreamlike mood. And the viewer himself can't understand why that mood exists, because there are no dripping watches or grotesque shapes as reference points. That is what I'm after: that mood which is apart from everyday life, the type of mood that one experiences at very special moments."

"In science, as in art, and, as I believe, in every other sphere of human activity, there may be wisdom in a multitude of counsellors, but it is only in one or two of them."

"Piety in art—poetry in art—Puseyism in art—let us be careful how we confound them."

"For art to be art it has to cure."

"I remember some artists who said this world isn't worth anything, that it is a pigsty, that we are going nowhere, that God is dead, and all those things. Bad literature is this. To expose your navel, to tell how you drank your morning coffee amid general disgust, with everything around you rotting. While the world is dying, I drink my coffee. Or I perform my little sex acts. This is old-fashioned. One must cross this neurotic curtain."

"The Christianocategori, or Accusers of Christians, are such and are so called, because those Christians who worship one living and true God praised in Trinity they accused of worshiping as gods, after the manner of the Greeks, the venerable images of our Lord Jesus Christ, of our immaculate lady, the holy Mother of God, of the holy angels, and of His saints. They are furthermore called Iconoclasts, because they have shown deliberate dishonor to all these same holy and venerable images and have consigned them to be broken up and burnt. Likewise, some of those painted on walls they have scraped off, while others they have obliterated with whitewash and black paint. They are also called Thymoleontes, or Lion-hearted, because, taking advantage of their authority, they have with great heart given strength to their heresy and with torment and torture visited vengeance upon those who approve of the images."

"Striving for excellence is a virtue, but not all of us can be Michelangelo. Yet the point of art isn’t to be legendary, but to bring meaning and joy to ourselves and our community."

"Art hath an enemy called Ignorance."

"Art is the human disposition of sensible or intelligible matter for an aesthetic end."

"A work of art wastes away and becomes lustreless in surroundings where it has a price but not a value. It radiates only when surrounded by love. It is bound to wilt in a world where the rich have no time and the cultivated no money. But it never harmonizes with borrowed greatness."

"Most historians of science, when they mention Kaluza's work at all, say that the idea of the fifth dimension was a bolt out of the blue, totally unexpected and original. ...But their amazement is probably due to their unfamiliarity with the nonscientific work of the mystics, literati, and avante garde. ...because of Hinton, Zollner, and others, the possible existence of higher dimensions was probably the single most popular quasi-scientific idea circulating within the arts. ...the work of Riemann pollinated the world of arts and letters via Hinton and Zollner, and then probably cross-pollinated back into the world of science through the work of Kaluza."

"The function of the modern artist was not to convey beauty, but to convey new truths."

"When the world would sink under your feet, art shall remain the sole island on which you will stand."

"Through art we make tomorrow better."

"All the art since the Renaissance seemed too men-oriented. I liked (the) object quality. An Egyptian pyramid, a Sung vase, the Romanesque church appealed to me. The forms found in the vaulting of a cathedral or even a splatter of tar on the road seemed more valid and instructive and a more voluptuous experience than either geometric or action painting."

"We must never forget that art is not a form of propaganda; it is a form of truth."

"Through the music speaks a truth about art that Wells does not understand, but that I hope to: that art doesn’t have to deliver a message in order to say something important. That art isn’t always a means to an end but sometimes an end in itself. That art may not be able to change the world, but it can still change the moment."

"After she died, they kind of just came like vultures. ... Like, artists wanted pieces of her."

"We tend to shy away from that grief,” she explains. “But I think that that’s the role of art: to help us into grief, and through grief, for each other, for our values, for the living world."

"Nieuwerkerke's replacement did not give Manet and the painters of the any... cause for cheer. Under the Third Republic... in November 1870 ... became Director of Fine Arts. ...Blanc had published a biography of Ingres, whom he idealized... and for several decades [Blanc] had been the most prolific and articulate exponent of the sort of celebrated at the . In his lofty conception of art, Eve was the original representative of beauty, but by plucking the forbidden fruit from the Tree of Knowledge she had plunged the world into a... sort of Platonic world of appearances in which the ideal was obscured by the humdrum and ugly material world. ...[T]he ability to see through the veil of appearances... was "obscure, latent, and sleeping" among the majority of men. However, great artists— ...especially Ingres and the painters of the —"carry within themselves this idea of the beautiful in a state of light." The true mission of art was... to show the "idea of the beautiful" that concealed itself behind the flickering shadows of the fallen world. ...[A]rt should not portray nature... but should idealize it... [H]e was vehemently opposed to Realism and paintings of la vie moderne, believing that artists who imitated nature and everyday life were slaves to appearance."

"Three men riding on a bicycle which has only one wheel, I guess that's surrealist."

"Most artists are surrealists. … always dreaming something and then they paint it."

"We have learned to whittle the Eden Tree to the shape of a surplice peg, We have learned to bottle our parents twain in the yelk of an addled egg. We know that the tail must wag the dog, for the horse is drawn by the cart, But the devil whoops, as he whooped of old; It's clever, but is it art?"

"The more minimal the art, the more maximum the explanation."

"“Art starts out simple. Pale. True to what is real. Like stone statues of the human body, or verse chanted by firelight. Pale, pale stone. Pale as straw. Simple words, that name what is true. Designs in natural wool, the color of rams’ horns. Then, as time goes on, the design becomes more elaborate. The colors brighter. The story twisted to fit rhyme, or symbol, or somebody else’s power. Finally, the designs are so elaborate, so twisted with motion, and the colors so feverish—look at me, Ludie—that the original, as it exists in nature, looks puny and withered. The original has lost all power to move us, replaced by a hectic simulacrum that bears only a tainted relation to what is real. The corruption is complete.”"

"Art unexamined is, after all, art unexperienced."

"Like all worthwhile art, the piece invites us on a journey that has no path nor map, nor even an endpoint. Only a process, footsteps through the mind of an artist now forever lost to us."

"Art and anti-Fascism are synonymous."

"Art is the creation of forms symbolic of human feeling."

"Art is the objectification of feeling, and the subjectification of nature."

"Creation always involves building upon something else. There is no art that doesn't reuse. And there will be less art if every reuse is taxed by the appropriator."

"Art, like dreaming, is something so necessary to internal balance that people deprived of it go a little wacky. Art is the collective dreamplace, the reservoir of our deepest understandings and desires and hopes, as essential as water. In recognition of this fact, the marketplace offers us entertainment, hoping to replace the wild and forested interior of our souls with potted plastic plants. Just as we dream-whether we want to or not, whether we long for or fear our dreaming-people make art and are drawn to art."

"Every vital social movement immediately begins to generate art-songs, poetry, posters, murals, novels-an outpouring of the creativity that people will create from even the smallest crumbs of hope."

"In Science the paramount appeal is to the Intellect — its purpose being instruction; in Art, the paramount appeal is to the Emotions — its purpose being pleasure. A work of Art must of course indirectly appeal to the Intellect, and a work of Science will also indirectly appeal to the Feelings; nevertheless a poem on the stars and a treatise on astronomy have distinct aims and distinct methods. But having recognised the broadly-marked differences, we are called upon to ascertain the underlying resemblances. Logic and Imagination belong equally to both. It is only because men have been attracted by the differences that they have overlooked the not less important affinities."

"Eminem: I tried to show you art, but you just pick it apart."

"All art is solitary and the studio is a torture area."

"Art is long, and time is fleeting."

"Art is Power."

"The counterfeit and counterpart Of Nature reproduced in art."

"Art is the child of Nature; yes, Her darling child in whom we trace The features of the mother's face, Her aspect and her attitude."

"The Art Snob can be recognized in the home by the quick look he gives the pictures on your walls, quick but penetrating, as though he were undressing them. This is followed either by complete and pained silence or a comment such as 'That's really a very pleasant little water color you have there.'"

"The Art Snob will stand back from a picture at some distance, his head cocked slightly to one side. … After a long period of gazing (during which he may occasionally squint his eyes), he will approach to within a few inches of the picture and examine the brushwork; he will then return to his former distant position, give the picture another glance and walk away."

"Gideon: I'm afraid I'm hopeless about novels just now, that's the fact. I'm sick of the form—slices of life served up cold in three hundred pages. Oh, it's very nice; it makes nice reading for people. But what's the use? Except, of course, to kill time for those who prefer it dead. But as things in themselves, as art, they've been ruined by excess. My critical sense is blunted just now. ...I couldn't write one, good or bad, to save my life, I know that. And I've got to the stage when I wish other people wouldn't. I wish everyone would shut up, so that we could hear ourselves think..."

"A genuine work of art must mean many things; the truer its art, the more things it will mean. If my drawing, on the other hand, is so far from being a work of art that it needs THIS IS A HORSE written under it, what can it matter that neither you nor your child should know what it means? It is there not so much to convey a meaning as to wake a meaning. If it do not even wake an interest, throw it aside. A meaning may be there, but it is not for you. If, again, you do not know a horse when you see it, the name written under it will not serve you much."

"The artist is not the transcriber of the world, he is its rival."

"Art ... can speak its own language only as long as the images are alive which refuse and refute the established order."

"Art, in fact, can be nothing but violence, cruelty and injustice."

"Comics they say are not literature--adventure strips lack artistic form, mental substance, and emotional appeal to any but the most moronic of minds. Can it be that 100,000,000 Americans are morons?"

"If you seek just a little truth, as most, you should not ignore abstract forms, the basis from which all short-lived experiences we call reality springs."

"You can think of art as framed deviance."

"Art indeed is long, but life is short."

"Impressionism is the newspaper of the soul."

"Drawing is like making an expressive gesture with the advantage of permanence."

"Art does not imitate, but interpret. It searches out the idea lying dormant in the symbol, in order to present the symbol to men in such form as to enable them to penetrate through it to the idea. Were it otherwise, what would be the use or value of art?"

"Instinct and study; love and hate; Audacity — reverence. These must mate, And fuse with Jacob's mystic heart, To wrestle with the angel — Art."

"For Art is Nature made by Man To Man the interpreter of God."

"My job is to make art expensive."

"I make the whole world answer to my art."

"What do we do when things are hard to describe? We start by sketching out the roughest shapes to serves as scaffolds for the rest; it does not matter very much if some of those forms turn out partially wrong. Next, draw details to give these skeletons more life-like flesh. Last, in the final filling-in, discard whatever first ideas no longer fit. ...Until you've seen some of the rest, you can't make sense of any part."

"If it is a dying craft we can't do anything about it. Civilisation moves on. Where are all the fresco painters now? Where are the landscape artists? What are they doing now? The world is changing. I have been very fortunate to be able to do the same job for 40 years. That's rare in any era."

"Actually I think CGI has the potential to equal or even surpass what the human hand can do."

"This sudden importance of art—an importance discovered by ideological movements, by the State, and by the business world—has made the artist a central figure on the public place. His earlier revolt against society, his marginal role as an entertainer, have of course predestined him to the role of an ally of all progressive movements that promise a universal society, that is, a universal public for his books, poems, paintings and partitions. His shudder before the ugliness of capitalist civilization, his isolation from the masses whose warmth and understanding he genuinely needs, make him an ideal, because uncritical, partner of the progressive ideologues who preach the overthrow of all that he hates."

"We are all heirs to the loveliness of the visible world; but only by process of art can we be inducted into possession of this large estate. Some authentic poet or artist has to intervene and give the property its rights and empower it to attain perfection in our sight."

"The more I look at most of the art movements, it’s all occultism, when you get down to it. The Surrealists were openly talking about being magicians."

"Annie Besant’s book where she put forward the idea that theosophical mystical energies could be portrayed as colours or abstract shapes was practically the invention of abstract art. A lot of artists rushed out and read it and suddenly thought, ‘oh God you could, you could portray love as a colour, or depression as a colour” All of a sudden abstract art happens, a flowering out of occultism."

"I don’t distinguish between magic and art. When I got into magic, I realised I had been doing it all along, ever since I wrote my first pathetic story or poem when I was twelve or whatever. This has all been my magic, my way of dealing with it."

"I saw no reason why you couldn't create a work of pornography that adhered to all the same standards as the best art or literature. The big difference between art and pornography is that art, at its best, makes you feel less alone. You see a painting or read a piece of writing that expresses a thought that you had but didn't express, and you suddenly feel less alone. Pornography, on the other hand, tends to engender feelings of self-disgust, isolation and wretchedness. I wanted to change that."

"Actually, art and magic are pretty much synonymous. I would imagine that this all goes back to the phenomenon of representation, when, in our primordial past, some genius or other actually flirted upon the winning formula of “This means that.” Whether “this” was a voice or “that” was a mark upon a dry wall or “that” was a guttural sound, it was that moment of representation. That actually transformed us from what we were into what we would be. It gave us the possibility, all of a sudden, of language. And when you have language, you can describe pictorially or verbally the strange and mystifying world that you see around you, and it’s probably not long before you also realize that, hey, you can just make stuff up. The central art of enchantment is weaving a web of words around somebody. And we would’ve noticed very early on that the words we are listening to alter our consciousness, and using the way they can transform it, take it to places we’ve never dreamed of, places that don’t exist."

"Magic and art tend to share a lot of the same language. They both talk about evocation, invocation, and conjuring. If you’re trying to conjure a character, then maybe you should treat that with the respect that you would if you were trying to conjure a demon. Because if an image of a god is a god, then in some sense the image of a demon is a demon. I’m thinking of people like Malcolm Lowry, the exquisite author of Under the Volcano. There are kabbalistic demons that are lurking all the way through Under the Volcano, and I assume they were probably similar forces to the ones that eventually overwhelmed Lowry’s life, such as the drinking and the madness. When I hear alcoholics talk about having their demons, I think that they’re probably absolutely literally correct."

"The heart desires, The hand refrains, The Godhead fires, The soul attains."

"For me, Art is the restoration of order. It may discuss all sort of terrible things, but there must be satisfaction at the end. A little bit of hunger, but also satisfaction."

"Most painting in the European tradition was painting the mask. Modern art rejected all that. Our subject matter was the person behind the mask."

"One... characteristic of medieval space must be noted: space and time form two relatively independent systems. First: the medieval artist introduced other times within his own spatial world, as when he projected the events of Christ's life within a contemporary Italian city, without the slightest feeling that the passage of time has made a difference, just as in Chaucer the classical legend of Troilus and Cressida is related as if it were a contemporary story. When a medieval chronicler mentions the King... it is sometimes difficult to find out whether he is talking about Caeser or Alexander the Great or his own monarch: each is equally near to him. ...the word anachronism is meaningless when applied to medieval art... in Botticelli's The Three Miracles of St. Zenobius, three different times are presented upon a single stage."

"Once the major wants of mankind are satisfied by the machine process, our factory system must be on a basis of regular annual replacement instead of progressive expansion—not on a basis of premature replacement through debauched workmanship, adulterated materials, and grossly stimulated caprice. "The case," as Mr. J. A. Hobson again puts it, "is a simple one. A mere increase in the variety of our material consumption relieves the strain imposed upon man by the limits of the material universe, for such a variety enables him to utilize a larger proportion of the aggregate matter. But in proportion as we add to mere variety a higher appreciation of those adaptations of matter which are due to human skill, which we call Art, we pass outside the limit of matter and are no longer slaves of roods and acres and a law of diminishing returns." In other words: a genuine standard, once the vital physical wants are satisfied, tends to change the plane of consumption and therefore to limit, in a considerable degree, the extent of further mechanical enterprise."

"I do not believe in art which is not the compulsive result of humanity's urge to open its heart."

"But fantasy kills imagination, pornography is death to art."

"Many are willing to suffer for their art. Few are willing to learn to draw."

"Art allows you to imbue the truth with a sort of magic, so it can infiltrate the psyches of more people, including those who don't believe the same things as you."

"Muriel Rukeyser unspools one of the most passionate arguments I've ever read for the notion that art creates meeting places, that poetry creates democracy."

"If you ask today what art is, what its function is, what the meaning of art is and why one should create art, the answer given oftentimes by Western philosophers of art and those who specialize in modern aesthetics is ‘‘art for art’s sake.’’ The modern response is that you just create art for the sake of art; but this was never the answer of traditional civilizations where one created art for both the sake of attainment of inner perfection and for human need in the deepest sense—because the needs of man are not only physical, they are also spiritual. We are as much in need of beauty as of the air that we breathe."

"Art is the supreme task and the truly metaphysical activity in this life…"

"Thus the man who is responsive to artistic stimuli reacts to the reality of dreams as does the philosopher to the reality of existence; he observes closely, and he enjoys his observation: for it is out of these images that he interprets life, out of these processes that he trains himself for life."

"Greek tragedy met her death in a different way from all the older sister arts: she died tragically by her own hand, after irresolvable conflicts, while the others died happy and peaceful at an advanced age. If a painless death, leaving behind beautiful progeny, is the sign of a happy natural state, then the endings of the other arts show us the example of just such a happy natural state: they sink slowly, and with their dying eyes they behold their fairer offspring, who lift up their heads in bold impatience. The death of Greek tragedy, on the other hand, left a great void whose effects were felt profoundly, far and wide; as once Greek sailors in Tiberius' time heard the distressing cry 'the god Pan is dead' issuing from a lonely island, now, throughout the Hellenic world, this cry resounded like an agonized lament: 'Tragedy is dead! Poetry itself died with it! Away, away with you, puny, stunted imitators! Away with you to Hades, and eat your fill of the old masters' crumbs!'"

"But for Socrates, tragedy did not even seem to "tell what's true", quite apart from the fact that it addresses "those without much wit", not the philosopher: another reason for giving it a wide berth. Like Plato, he numbered it among the flattering arts which represent only the agreeable, not the useful, and therefore required that his disciples abstain most rigidly from such unphilosophical stimuli — with such success that the young tragedian, Plato, burnt his writings in order to become a pupil of Socrates."

"We cannot help but see Socrates as the turning-point, the vortex of world history. For if we imagine that the whole incalculable store of energy used in that global tendency had been used not in the service of knowledge but in ways applied to the practical — selfish — goals of individuals and nations, universal wars of destruction and constant migrations of peoples would have enfeebled man's instinctive zest for life to the point where, suicide having become universal, the individual would perhaps feel a vestigial duty as a son to strangle his parents, or as a friend his friend, as the Fiji islanders do: a practical pessimism that could even produce a terrible ethic of genocide through pity, and which is, and always has been, present everywhere in the world where art has not in some form, particularly as religion and science, appeared as a remedy and means of prevention for this breath of pestilence."

"Science, spurred by its powerful illusion, speeds irresistibly towards its limits where its optimism, concealed in the essence of logic, suffers shipwreck. For the periphery of the circle of science has an infinite number of points...noble and gifted men...reach...inevitably, such boundary points on the periphery from which one gazes into what defies illumination. When they see to their horror how logic coils up at these boundaries and finally bites its own tail-suddenly the new form of insight breaks through, tragic insight which, merely to be endured, needs art as a protection and a remedy."

"Only by forgetting this primitive world of metaphor can one live with any repose, security, and consistency: only by means of the petrification and coagulation of a mass of images which originally streamed from the primal faculty of human imagination like a fiery liquid, only in the invincible faith that this sun, this window, this table is a truth in itself, in short, only by forgetting that he himself is an artistically creating subject, does man live with any repose, security, and consistency. If but for an instant he could escape from the prison walls of this faith, his "self consciousness" would be immediately destroyed."

"Art is the method of levitation, in order to separate one's self from enslavement by the earth."

"The Art of a well-developed genius is far different from the Artfulness of the Understanding, of the merely reasoning mind. Shakspeare was no calculator, no learned thinker; he was a mighty, many-gifted soul, whose feelings and works, like products of Nature, bear the stamp of the same spirit; and in which the last and deepest of observers will still find new harmonies with the infinite structure of the Universe; concurrences with later ideas, affinities with the higher powers and senses of man. They are emblematic, have many meanings, are simple and inexhaustible, like products of Nature; and nothing more unsuitable could be said of them than that they are works of Art, in that narrow mechanical acceptation of the word."

"He searched disorder for its unifying principle."

"Art is marks on canvas trying to find a place to live."

"Everyone is scared of genetic DIY. It's crucial for artists to work with such technologies. It is important that we work between science and art."

"Were art to redeem man, it could do so only by saving him from the seriousness of life and restoring him to an unexpected boyishness. The symbol of art is seen again in the magic flute of the Great God Pan which makes the young goats frisk at the edge of the grove. All modern art begins to appear comprehensible and in a way great when it is interpreted as an attempt to instill youthfulness into an ancient world."

"Can God, the creator of the universe, be compared to such an ugly, horrible, disgraceful doll?"

"Arte citæ veloque rates remoque moventur; Arte levis currus, arte regendus Amor."

"The Nefertiti bust is one of the most popular art works in the world. It is printed on scarves and molded in necklace pendants and coffee-table miniatures. But never in my experience is the bust exactly reproduced. The copyist softens it, feminizes it and humanizes it. The actual bust is intolerably severe. It is too uncanny an object for domestic display. Even art books lie. The bust is usually posed in profile or at an angle, so that the missing left pupil is hidden or shadowed. What happened to the eye?"

"what art is about-and this is what justice is about, although you'll have your own interpretations-is the illumination of what isn't known, the lighting up of what is under a rock, of what has been hidden."

"art comes from constant mental harassment."

"In crossing a heath, suppose I pitched my foot against a stone and were asked how the stone came to be there, I might possibly answer that for anything I knew to the contrary it had lain there forever; nor would it, perhaps, be very easy to show the absurdity of this answer. But suppose I found a watch upon the ground, and it should be inquired how the watch happened to be in that place, I should hardly think of the answer which I had given, that for anything I knew the watch might have always been there. Yet why should not this answer serve for the watch as well as for the stone; why is it not admissible in that second case as in the first? For this reason, and for no other, namely, that when we come to inspect the watch, we perceive — what we could not discover in the stone — that its several parts are framed and put together for a purpose, e.g., that they are so formed and adjusted as to produce motion, and that motion so regulated as to point out the hour of the day; that if the different parts had been differently shaped from what they are, or placed in any other manner or in any other order than that in which they are placed, either no motion at all would have carried on in the machine, or none which would have answered the use that is now served by it. This mechanism being observed … the inference we think is inevitable, that the watch must have had a maker — that there must have existed, at some time and at some place or other, an artificer or artificers who formed it for the purpose which we find it actually to answer, who comprehended its construction and designed its use. Nor would it, I apprehend, weaken the conclusion, that we had never seen a watch made; that we had never known an artist capable of making one; that we were altogether incapable of executing such a piece of workmanship ourselves, or of understanding in what manner it was performed; all this being no more than what is true of some exquisite remains of ancient art, of some lost arts, and, to the generality of mankind, of the more curious productions of modern manufacture."

"I don't live in the present, I Am The Present"

"It is not easy even with consciousness to discard the environmental trappings that accompany most art forms. Most of us still expect to see classical musicians in white blouses and long black skirts-but we are changing and growing."

"We said we’d never make a video game unless we really did it hands-on. We’re both gamers, we both grew up as gamers and we both respect gaming as an art form, just like musical theatre so to us it wasn’t just ‘oh go and do something like that’. Once we’d finished Book of Mormon, Stick of Truth really was our other big project, and right now it’s this."

"Art has two constant, two unending concerns: It always meditates on death and thus always creates life. All great, genuine art resembles and continues the Revelation of St John."

"Art and music make manifest, by bringing into conscious awareness, that which has previously been felt only tentatively and internally. Art, in its widest sense, is a form of play that lies at the origin of all making, of language, and of the mind's awareness of its place within the world. Art, in all its forms, makes manifest the spiritual dimension of the cosmos, and expresses our relationship to the natural world. This may have been the cause of that natural light which first illuminated the preconscious minds of early hominids."

"Buy a piece of art. Find one that speaks to you and make the purchase. If it is a genuine artistic production, it will invade your life and change it. A real piece of art is a window into the transcendent, and you need that in your life, because you are finite and limited and bounded by your ignorance. […] It is for such reasons that we need to understand the role of art, and stop thinking about it as an option, or a luxury, or worse, an affectation. Art is the bedrock of culture itself. It is the foundation of the process by which we unite ourselves psychologically, and come to establish productive peace with others."

"What do you think an artist is? An imbecile who has only eyes if he is a painter, ears if he's a musician, or a lyre in every chamber of his heart if he's a poet, or even, if he's a boxer, only some muscles? Quite the contrary, he is at the same time a political being constantly alert to the horrifying, the passionate or pleasing events of the world, shaping himself completely in their image... No, painting is not made to decorate apartments. It's an offensive and defensive weapon against the enemy."

"For a long time I limited myself to one color — as a form of discipline."

"In the twentieth century, modernism and postmodernism took over, and their practitioners disdained beauty as bourgeois, saccharine, lightweight. Art was deliberately made incomprehensible or ugly or shocking... on the assumption that our predilections... were reversible social constructions. This also led to an exaggeration of the dynamic of social status that has always been part of the arts. The elite arts used to be aligned with the economic and political aristocracy. They involved displays of sumptuosity and the flaunting of rare and precious skills that only the idle rich could cultivate. But now that any schmo could afford a Mozart CD or go to a free museum, artists had to figure out new ways to differentiate themselves from the rabble. So art became baffling and uninterpretable—unless you had some acquaintance with arcane theory."

"Love is a feeling, and its expression is an art."

"You're not supposed to have equations in a public lecture, so think of this as a piece of art."

"Abstract painting is abstract. It confronts you."

"The perfection of art is to conceal art."

"What I am searching for... is some formula that would combine individual initiative with universal values, and that combination would give us a truly organic form. Form, which we discover in nature by analysis, is obstinately mathematical in its manifestations—which is to say that creation in art requires thought and deliberation. But this is not to say that form can be reduced to a formula. In every work of art it must be re-created, but that too is true of every work of nature. Art differs from nature not in its organic form, but in its human origins: in the fact that it is not God or a machine that makes a work of art, but an individual with his instincts and intuitions, with his sensibility and his mind, searching relentlessly for the perfection that is neither in mind nor in nature, but in the unknown. I do not mean this in an other-worldly sense, only that the form of the flower is unknown to the seed."

"The work of art … is an instrument for tilling the human psyche, that it may continue to yield a harvest of vital beauty."

"There is no leading nation in the world that does not support the arts, usually two, three, ten times as much as we do. Why should we be different? Public arts funding is a concept that stands beside public education as an obligation a government has to its people and to history."

"I arrange my subject as I want it, then I go ahead and paint it, like a child. I want a red to be sonorous—to sound, like a bell; if it doesn't turn out that way, I put more reds or other colors till I get it. I am no cleverer than that. I have no rules and no methods; any one can look over my materials or watch how I paint—he will see that I have no secrets. I look at a nude; there are myriads of tiny tints. I must find the ones that will make the flesh on my canvas live and quiver. Nowadays they want to explain everything. But if they could explain a picture it wouldn't be art. Shall I tell you what I think are the two qualities of a work of art? It must be indescribable and it must be inimitable. ...So in our Gothic architecture: each column is a work of art, because the old French monk who set it up and carved its capital did what he liked—not doing everything alike, as... when things are made by machinery or by rules, but each thing different—like the trees in the forest. The work of art must seize upon you, wrap you up in itself, carry you away. It is the means by which the artist conveys his passion; it is the current which he puts forth which sweeps you along in his passion."

"Die Kunst ist zwar nicht das Brod, aber der Wein des Lebens."

"Things are not all so comprehensible and expressible as one would mostly have us believe; most events are inexpressible, taking place in a realm which no word has ever entered, and more inexpressible than all else are works of art, mysterious existences, the life of which, while ours passes away, endures."

"Art and culture give us the language to talk about what we are experiencing as oppressed people...The power of art and culture is that it speaks to our heart. It speaks to our emotions, but it also opens up our imagination to show us what’s possible. It takes us to another world, and we can experience that world."

"Art means to dare — and to have been right."

"I respect all definitions of art, but I cherish most the definition which states that art is an expression of the desire to communicate on the most meaningful level."

"That is what Castle's work needed: a beginner's eye—my eye, before it became too schooled and guarded, while it was still in touch with the vulgar foundations of the art, still vulnerably naive enough to receive that faint and flickering revelation of the dark god whose scriptures are the secret history of the movies."

"The bond of sympathy, like the artist's eye for beauty, may stretch across many divisions."

"Being an artist is hard. Making the stuff and selling it. Both are impossible."

"I am willing to let it rest on the determination of every reader, whether the pleasure which he has received from these effects of calm and luminous distance be not the most singular and memorable of which he has been conscious... It is not then by nobler form, it is not by positiveness of hue, it is not by intensity of light... that this strange distant space possesses its attractive power. But there is one thing that it has, or suggests, which no other object of sight suggests in equal degree, and that is—Infinity. ...No work of any art, in which this expression of infinity is possible, can be perfect or supremely elevated, without it."

"Life without industry is guilt, and industry without art is brutality."

"Greater completion marks the progress of art, absolute completion usually its decline."

"What separates art from science? The gift; To it, proud knowledge must concede the crown. Scholarship certainly knows how something ought to be But it cannot create it — that you alone, art, can do."

"The universe was made on purpose, the circle said. In whatever galaxy you happen to find yourself, you take the circumference of a circle, divide it by its diameter, measure closely enough, and uncover a miracle — another circle, drawn kilometers downstream of the decimal point. There would be richer messages farther in. It doesn't matter what you look like, or what you're made of, or where you come from. As long as you live in this universe, and have a modest talent for mathematics, sooner or later you'll find it. It's already here. It's inside everything. You don't have to leave your planet to find it. In the fabric of space and in the nature of matter, as in a great work of art, there is, written small, the artist’s signature. Standing over humans, gods, and demons, subsuming Caretakers and Tunnel builders, there is an intelligence that antedates the universe."

"L'art n'est pas une étude de la réalité positive; c'est une recherche de la vérité idéale."

"L'art pour l'art est un vain mot. L'art pour le vrai, l'art pour le beau et le bon, voilà la religion que je cherche...."

"“I am an artist,” Wit said. “I should thank you not to demean me by insisting my art must be trying to accomplish something. In fact, you shouldn’t enjoy art. You should simply admit that it exists, then move on. Anything else is patronizing.”"

"Art is what is irresistible."

"The role of art is to make a world which can be inhabited."

"During the darkest days of the HIV/AIDS epidemic, when Republicans and religious conservatives controlled the federal government and were doing everything in their power to harm the sick and dying, queers organized and protested and volunteered and mourned. We also made music and theater and art. We took care of each other, and we danced and loved and fucked. Embracing joy and art and sex in the face of fear and uncertainty made us feel better—it kept us sane—and it had the added benefit of driving our enemies crazy. They couldn’t understand how we could be anything but miserable, given the challenges we faced—their greed, their indifference, their bigotry—but we created and experienced joy despite their hatred and despite this awful disease. We turned to each other—we turned to our lovers and friends and sometimes strangers—and said, "Fuck them. Now fuck me.""

"[U]tilizing the discoveries of scientists, photography was invented by artists for the use of artists. ...Daguerre had acquired a considerable reputation as a painter and inventor of illusionist effects in panoramas and... as a designer of stage settings... Almost at the same time as he invented the ... Daguerre began to experiment with the photographic process. ...[H]e would have to be considered... the first artist to utilize photographs for his paintings—before photography was in effect discovered. ...Talbot, the discoverer of another photographic process, was an amateur artist who used the and from the early 1820s as aids to his landscape drawings. Among other... near-discoverers of photography were artists who sought through the camera obscura... the last word in art. ...Joseph-Nicéphore Niépce succeeded in fixing what he called a heliograph on glass. Niépce and his son... a painter and sculptor, had been practicing the new art of ... Because the litho stones of good quality were difficult to obtain, they... substituted plates. ...[T]he elder Niépce ...conceived of the idea of recording, photographically, [using as negatives, existing paper engravings made transparent by oiling or waxing] an image on the plate and etching it for printing. ...After unsuccessful experiments with chloride of silver, he used another light-sensitive substance called ; the unexposed parts could be dissolved, baring the metal to be etched ...By 1837, with common salt as a fixative, Daguerre made his first relatively permanent photograph..."

"When Talbot] learned of Daguerre's achievement he promptly published... 'Photogenic Drawing' . During ...1839, after Dagurerre's and Talbot's discoveries had been advertised, other inventors ...appeared ...One claim indicated that certain artists ...thirty years previously, had developed a negative process using diluted as a fixative, ...It had not, it seems, occurred to them, as later it did to Talbot, to make the negative translucent and re-photograph it. ...Whereas the was a direct positive process, each photograph a unique image on a ...polished metal plate, photogenic drawing was ...to develop into a negative-positive one allowing for multiple copies ...Talbot's ...s, were printed from oiled or waxed paper negatives. They thus reproduced the fibrous texture [image distortion] of the paper ...Talbot believed that the photograph would become an important aid to artists... the multitude of minute details ...'no artist would take the trouble to copy faithfully from nature'. Talbot wrote this in 1844 in his ...', the first publication using actual photographic prints in conjuction with text."

"Seraphs share with thee Knowledge; But Art, O Man, is thine alone!"

"Von der Freiheit gesäugt wachsen die Künste der Lust."

"Kunst ist die rechte Hand der Natur. Diese hat nur Geschöpfe, jene hat Menschen gemacht."

"Schwer ist die Kunst, vergänglich ist ihr Preis."

"The law of simplicity and naïvety holds good of all fine art; for it is quite possible to be at once simple and sublime. True brevity of expression consists in everywhere saying only what is worth saying, and in avoiding tedious detail about things which everyone can supply for himself. This involves correct discrimination between what is necessary and what is superfluous. A writer should never be brief at the expense of being clear..."

"[E]verything which a man fails to pursue for its own sake is but half-pursued; and true excellence... can be attained only where... produced for its own sake alone, and not as a means to further ends. ...[N]o one will ever succeed in doing anything really great and original... who does not seek to acquire knowledge for himself, and... decline to trouble himself about the knowledge of others... [E]rudition means endowing... with a great mass of alien thought... So we find Sterne in his Tristram Shandy, boldly asserting that an ounce of a man's own wit is worth a ton of other people's. ...[T]he most profound erudition is no more akin to genius than a collection of dried plants is like Nature, with its constant flow of new life, ever fresh, ever young, ever changing. There are no two things more opposed than the childish naïvety of an ancient author and the learning of his commentator."

"In a field of ripening corn I came to a place which had been trampled down by some ruthless foot; and as I glanced amongst the countless stalks, every one of them alike, standing there so erect and bearing the full weight of the ear, I saw a multitude of different flowers, red and blue and violet. How pretty they looked as they grew there so naturally with their little foliage! But, thought I, they are quite useless; they bear no fruit; they are mere weeds, suffered to remain only because there is no getting rid of them. And yet, but for these flowers, there would be nothing to charm the eye in that wilderness of stalks. They are emblematic of poetry and art, which, in civic life—so severe, but still useful and not without its fruit—play the same part as flowers in the corn."

"It holds up in one object or one surface, in one bright, luminous and concentrated thing — whether a beer can or a flag — all the dispersed elements that go to make up our lives."

"Holy Mother Church has ... always been the friend of the fine arts and has ever sought their noble help"

"After a few months in my parents' basement, I took an apartment near the state university, where I discovered both crystal methamphetamine and conceptual art. Either one of these things are dangerous, but in combination they have the potential to destroy entire civilizations."

"In the largest sense, every work of art is protest. … A lullaby is a propaganda song and any three-year-old knows it. … A hymn is a controversial song — sing one in the wrong church: you'll find out. ..."

"I want no more than to speak simply to be granted that grace. Because we've loaded our songs with so much music that they're slowly sinking and we've decorated our art so much that its features have been eaten away by gold and it's time to say our few words because tomorrow our soul sets sail. ...I think so much these days about the great river, that symbol which moves forward among herbs and greenery and beasts that graze and drink, and men who sow and harvest, great tombs even and small habitations of the dead. That current which goes its way and which is not so different from the blood of men..."

"Omnis ars naturae imitatio est."

"Illa maximi medicorum exclamatio est, Vitam brevem esse, longam artem."

"it is always in the future that the course of art lies"

"It [art] communicates directly without asking approval of any authority. Its values are not those of set virtues, but are of the essential nature of man, good or bad. Art is one of the few media of expression which still remains unedited, unprocessed, and undictated. If its hazards are great, so are its potentialities magnificent."

"To gild refined gold, to paint the lily, To throw a perfume on the violet, To smooth the ice, or add another hue Unto the rainbow."

"His art with nature's workmanship at strife, As if the dead the living should exceed."

"I've fought the good fight. And now it’s all over, there's an indescribable peace. ...I believe in Michelangelo, Velásquez and Rembrandt; in the might of design, the mystery of color, the redemption of all things by beauty everlasting and the message of Art that has made these hands blessed. Amen. Amen."

"Art is the magic mirror you make to reflect your invisible dreams in visible pictures. You use a glass mirror to see your face: you use works of art to see your soul. But we who are older use neither glass mirrors nor works of art. We have a direct sense of life. When you gain that you will put aside your mirrors and statues, your toys and your dolls."

"“Isn’t that what art is?…Making things up?” “No,” she said. “That is commerce—identifying a market and satisfying it. Art is seeing the truth and revealing it, as beautifully and forcefully and honestly as you are able.”"

"Art is the signature of civilizations."

"The very first moment when I realized what abstract art is, was the moment when my father came to my exhibition and he said: – Okay, but where are the pictures?"

"Take it easy. It’s just a drawing."

"There is no pulse so sure of the state of a nation as its characteristic art product which has nothing to do with its material life."

"We create art to express our perception as to what is not visible in nature. There is no past or future in art…. art should always be in the present!"

"Wars are fought to make the world safe for artists. It is never quite put in those terms but it is a useful way of grasping what civilized ideals are all about. The easiest way of knowing whether good has triumphed over evil is to examine the freedom of the artist."

"Revolution in art is in no way connected with class revolution. Artists are members of a privileged class. Art is absurdly overrated by artists, which is understandable, but what is strange is that it is absurdly overrated by everyone else."

"When the strongest began to fight for the tribe, and the fastest to hunt, it was the artist who became the priest-guardian of the magic that conjured the intelligence out of the appetites."

"I believe that art is the greatest outcome of imitating nature, as Greek philosopher Aristotle once said. ... We take it for granted that in traditional arts and culture an artist develops his skill and aesthetics by imitating a master or by repeating a motif. The Japanese word “nazorae,” which means simulation or transformable imitation, sums up the quintessential strength of Japanese traditional art to achieve ultimate beauty."

"If you can't spontaneously detect (without analyzing) the difference between the sacred and profane, you'll never know what religion means. You will also never figure out what we commonly call art. You will never understand anything."

"Under the impulse of such ideas [upon which an Acquisitive Society is based] men do not become religious or wise or artistic; for religion and wisdom and art imply the acceptance of limitations. But they become powerful and rich. They inherit the earth and change the face of nature, if they do not possess their own souls; and they have that appearance of freedom which consists in the absence of obstacles between opportunities for self-advancement and those whom birth or wealth or talent or good fortune has placed in a position to seize them."

"Instead of supposing that a work of art must be something that all can behold—a poem, a painting, a book, a great building—consider making your own life a work of art. You have yourself to begin with, and a time of uncertain duration to work on it....It need not be something spectacular or even something that will attract notice from others. What it will be is a kind of excellence that you project for yourself, and then attain—something that you can take a look at, with honest self-appraisal, and be proud of."

"Cultural products which present foreign wars as the heroic effort of a master race to ennoble mankind are, to the degree they are successful as art, objectively in the interests of imperialists, who are people who make foreign wars against other races for profit."

"Cultural products that present people who have no money or power as innately stupid or depraved, and thus unworthy of money or power, are in the interests of the ruling class and the power structure as it stands."

"Cultural products which present women who do not want to be household slaves or universal mothers or sex objects as bitches or sexual failures objectively aid male supremacy."

"Art is a human activity having for its purpose the transmission to others of the highest and best feelings to which men have risen."

"Art is a human activity consisting in this, that one consciously, by means of certain external symbols, conveys to others the feelings one has experienced, whereby people so infected by these feelings, also experience them."

"In order to correctly define art, it is necessary, first of all, to cease to consider it as a means to pleasure and consider it as one of the conditions of human life. ...Reflecting on it in this way, we cannot fail to observe that art is one of the means of effective communication between people."

"The activity of art is... as important as the activity of language itself, and as universal."

"Art happens all the time, everywhere. All we have to do is to keep our minds open."

"The very object of an art, the principle of its artifice, is precisely to impart the impression of an ideal state in which the man who reaches it will be capable of spontaneously producing, with no effort of hesitation, a magnificent and wonderfully ordered expression of his nature and our destinies."

"The superior gratification derived from the use and contemplation of costly and supposedly beautiful products is, commonly, in great measure a gratification of our sense of costliness masquerading under the name of beauty."

"Any valuable object in order to appeal to our sense of beauty must conform to the requirements of beauty and of expensiveness both. But this is not all. Beyond this the canon of expensiveness also affects our tastes in such a way as to inextricably blend the marks of expensiveness, in our appreciation, with the beautiful features of the object, and to subsume the resultant effect under the head of an appreciation of beauty simply. The marks of expensiveness come to be accepted as beautiful features of the expensive articles. They are pleasing as being marks of honorific costliness, and the pleasure which they afford on this score blends with that afforded by the beautiful form and color of the object."

"By habitually identifying beauty with reputability, it comes about that a beautiful article which is not expensive is accounted not beautiful."

"The taste of the more recent accessions to the leisure class proper and of the middle and lower classes still requires a pecuniary beauty to supplement the aesthetic beauty, even in those objects which are primarily admired for the beauty that belongs to them as natural growths."

"Hence has arisen that exaltation of the defective, of which John Ruskin and William Morris were such eager spokesmen in their time; and on this ground their propaganda of crudity and wasted effort has been taken up... And hence also the propaganda for a return to handicraft and household industry. So much of the work and speculations of this group of men... would have been impossible at a time when the visibly more perfect goods were not the cheaper."

"In aesthetic theory it might be extremely difficult, if not quite impracticable, to draw a line between the canon of classicism, or regard for the archaic, and the canon of beauty."

"Art is the symbol of the two noblest human efforts: to construct and to refrain from destruction."

"The National Association for the Advancement of Colored People recognizes in "Song of the South" remarkable artistic merit in the music and in the combination of living actors and the cartoon technique. It regrets, however, that in an effort neither to offend audiences in the north or south, the production helps to perpetuate a dangerously glorified picture of slavery. Making use of the beautiful Uncle Remus folklore, "Song of the South" unfortunately gives the impression of an idyllic master-slave relationship which is a distortion of the facts."

"Around the mighty master came The marvels which his pencil wrought, Those miracles of power whose fame Is wide as human thought."

"Art is the most intense mode of Individualism that the world has known. I am inclined to say that it is the only real mode of Individualism that the world has known. Crime, which, under certain conditions, may seem to have created Individualism, must take cognisance of other people and interfere with them. It belongs to the sphere of action. But alone, without any reference to his neighbours, without any interference, the artist can fashion a beautiful thing; and if he does not do it solely for his own pleasure, he is not an artist at all."

"Art is individualism, and individualism is a disturbing and disintegrating force. There lies its immense value. For what it seeks is to disturb monotony of type, slavery of custom, tyranny of habit, and the reduction of man to the level of a machine."

"Autrefois, j'étais poète et tyran. Maintenant je suis artiste et anarchiste."

"No art can be judged by purely aesthetic standards, although a painting or a piece of music may appear to give a purely aesthetic pleasure. Aesthetic enjoyment is an intensification of the vital response, and this response forms the basis of all value judgements. The existentialist contends that all values are connected with the problems of human existence, the stature of man, the purpose of life. These values are inherent in all works of art, in addition to their aesthetic values, and are closely connected with them."

"It is easy to see that the mimetic image is inscribed in art. Every painting, every sculpture, every photograph wants to be a second body And it is easy to see that the apparitional, instantaneous image is also inscribed in the work of art. Modern works of art, according to Theodor Adorno, are "ashamed" of their apparitional quality but are unable to shed it. "If the deities of antiquity," Adorno wrote, "were said to appear fleetingly at their cult sites .. . this act of appearing became the law of the permanence of artworks, but at the price of the living incarnation of what appears." It is harder to see that the work of art is already inscribed in every image, even in the supposedly pre-aesthetic artifact like the effigy and the mask. Emile Durkheim recognized this fact when he observed that "art is not merely an external ornament with which the [religious] cult has adorned itself in order to dissimulate certain of its features which may be too austere and too rude; but rather, in itself, the cult is something aesthetic."' The image is thus best understood not as the origin but as the destination of art."

"In short, if newspapers were written by people whose sole object in writing was to tell the truth about politics and the truth about art we should not believe in war, and we should believe in art."

"All that tangled emotion at the end—the angst, the hope, the fear and relief—reminds me that making art means letting go just as much as it means bringing something to life."

"I don't really have studios. I wander around — around people's attics, out in fields, in cellars, anyplace I find that invites me."

"For what was art, she thought, but the heart and soul made visible."

"How empty learning, and how vain is art, But as it mends the life, and guides the heart!"

"The artist and monk are distinct... because they apply themselves self-consciously to transformation. They educate themselves for an end they have chosen. By contrast, most of us are educated by others and for ends we have not chosen. Traditionally, artists, philosophers, and religious figures have formed that small segment of society that engages in the important if often painful business of introspection and prophetic critique. They sense the dangers of an unthinking, habitual mode of seeing and know the need for tireless renewal."

"A hierarchy of senses, with the visual steadily more separate from the others and seeking its completion in artificial images such as cave paintings, moves to replace the full simultaneity of sensual gratification."

"Young people, who are still uncertain of their identity, often try on a succession of masks in the hope of finding the one which suits them — the one, in fact, which is not a mask."

"One thinker no less brilliant than the heresiarch himself, but in the orthodox tradition, advanced a most daring hypothesis. This felicitous supposition declared that there is only one Individual, and that this indivisible Individual is every one of the separate beings in the universe, and that those beings are the instruments and masks of divinity itself."

"Every one who, with intent to commit an indictable offence, has his face masked or coloured or is otherwise disguised is guilty of an indictable offence and liable to imprisonment for a term not exceeding ten years"

"Bane: No one cared who I was 'til I put on the mask."

"We wear the mask that grins and lies, It hides our cheeks and shades our eyes,— This debt we pay to human guile; With torn and bleeding hearts we smile, And mouth with myriad subtleties.Why should the world be over-wise, In counting all our tears and sighs? Nay, let them only see us, while We wear the mask.We smile, but, O great Christ, our cries To thee from tortured souls arise. We sing, but oh the clay is vile Beneath our feet, and long the mile; But let the world dream otherwise, We wear the mask!"

"Fire is to represent truth because it destroys all sophistry and lies; and the mask is for lying and falsehood which conceal truth."

"If you have abandoned one faith, do not abandon all faith. There is always an alternative to the faith we lose. Or is it the same faith under another mask?"

"A few years ago, very few teenagers wore masks. But many wear them today and the numbers are increasingly very rapidly. The reason is that these teenagers are looking for something to hide behind. They are constantly having to communicate with friends via SMS and emails and this is making them so tired that it is a relief to wear a masks. It is a way to hide their feelings."

"Your occupation consists in preserving your hiding-place, and that you succeed in doing, for your mask is the most enigmatical of all. In fact you are nothing; you are merely a relation to others, and what you are you are by virtue of this relation. To a fond shepherdess you hold out a languishing hand, and instantly you are masked in all possible bucolic sentimentality. A reverend spiritual father you deceive with a brotherly kiss, etc. You yourself are nothing, an enigmatic figure on whose brow is inscribed Either/or – “For this,” you say, “is my motto, and these words are not, as the grammarians believe, disjunctive conjunctions; no, they belong inseparably together and therefore ought to be written as one word…""

"It's a terrible thing to be alone — yes it is — it is — but don't lower your mask until you have another mask prepared beneath — as terrible as you like — but a mask."

"All visible objects, man, are but as pasteboard masks. But in each event — in the living act, the undoubted deed — there, some unknown but still reasoning thing puts forth the mouldings of its features from behind the unreasoning mask."

"I'm not questioning your powers of observation, I'm merely remarking upon the paradox of asking a masked man who he is."

"Beneath this mask there is more than flesh... beneath this mask there is an idea, Mr. Creedy... and ideas are bulletproof."

"Truth is naked. Truth was, is, and will ever be. But we humans like to wear masks."

"To perceive pure love that is God, you have to unmask your heart, unmask your soul, unmask the purity of your being."

"Though wearing a mask makes the villains scarier, it would also make them far less efficient killers — especially, if, like Jason Vorhees, your face and eyes are disfigured to begin with. It's amazing he can see at all, much less hurl hatchets through the air, striking his terrified prey in near-darkness with deadly accuracy. It should be easy for the scared teens in slasher films to stay alive, all they'd have to do is stay in the masked slasher's obstructed peripheral vision — that, and don't go in the dark room to see what that noise is! Why are masks so menacing? It has to do with psychology and the fear of anonymous death. For many people, the idea of being murdered by an unidentifiable stranger for no reason is more terrifying than being killed by someone you do know, and for some good reason."

"You can't wear a mask Clark. When people see you and can see the things you can do, the power you have, they'll be terrified. They need to be able to look into your eyes, see your face, so that they can see the decency and kindness that's always there and know they have nothing to be afraid of."

"Behind masks of smiles, some faces have buried their pain, while others have hidden almost their entirety."

"Where you going for tomorrow, where're you going with the mask I found?"

"Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth."

"There are days when I am overwhelmed with grief and rage at the regressive attitudes toward public health and disabled people. In my opinion, the ableist, fascistic, and eugenic nature of proposed mask bans under consideration in New York City and Los Angeles is bleak. But what is happening now is not new or surprising; the hate is more explicit, that’s all."

"Today, the mask is the unsightly marker of deviant individuals: the sick, the immunocompromised, the disabled, and the protester who wishes to keep their identity anonymous. (Many demonstrators at pro-Palestine marches have worn medical masks or other face coverings, both to protect their identity from authorities and to protect their health in large crowds.) We’re told such masked individuals threaten the moral order of society, and these bans are meant to keep the public “safe.”"

"Any mask ban is a dangerous prospect, as many regions are currently dealing with an increase in COVID cases, and these patterns are expected to continue multiple times a year. (Days after Los Angeles’s Democratic mayor Karen Bass said the city would look into a potential mask ban at protests, she contracted COVID.) A mask ban on the subway would endanger a public good that many people depend on — and have a right to — and the ability of high-risk people to participate in society, to be seen, and matter to the broader community."

"“Safety” is a key word used by people who mask and those who consider masking a criminal act. But it’s worth asking, who is kept safe by the state or by individual acts, and who is left out? “We keep us safe” is a phrase used by community organizers that view public safety as a collective endeavor. As Charis Hill, a disability activist, tells me, “I take medications that weaken my immune system, so I primarily wear a mask to protect myself, but I also wear it to protect others and to show that we are still in a pandemic. If mask bans become the reality, I have little hope that I'll ever be safe in public again.”"

"What is clear to me is that disabled people have never felt safe. Many of us view masking as a form of solidarity with workers, activists, and people of color all over the world fighting fascism and genocide. But mask bans send the message that it is a crime to be disabled. I think of people who have fought hard to stay relatively safe since early 2020, those who hang on a precipice that feels like it could fall at any moment. Some days I wonder what my breaking point will be."

"The massive figure of a bronze woman is covered from head to foot with green oxide. The cold face looks blindly through the fog into the ocean wasteland, as though the bronze were waiting for the sun to come and bring its dead eyes to life."

"Bartholdi produced a series of drawings in which the proposed statue began as a gigantic female fellah, or Arab peasant, and gradually evolved into a colossal goddess that resembled the ones he had contemplated in the early and mid 1860's."

"We aren't here today to bow before the representation of a fierce warlike god, filled with wrath and vengeance, but we joyously contemplate instead our own deity keeping watch and ward before the open gates of America and greater than all that have been celebrated in ancient song. Instead of grasping in her hand thunderbolts of terror and of death, she holds aloft the light which illumines the way to man's enfranchisement. We will not forget that Liberty has here made her home, nor shall her chosen altar be neglected. Willing votaries will constantly keep alive its fires and these shall gleam upon the shores of our sister Republic thence, and joined with answering rays a stream of light shall pierce the darkness of ignorance and man's oppression, until Liberty enlightens the world."

"Since September 11, 2001, I have often thought that perhaps it was fortunate for the world that the attackers targeted the World Trade Center instead of the Statue of Liberty, for if they had destroyed our sacred symbol of democracy I fear we as Americans would have been unable to keep ourselves from indulging in paroxysms of revenge of a sort the world has never seen before. If that had happened, it would have befouled the meaning of the Statue of Liberty beyond any hope of subsequent redemption -- if there were any people left to care. I have learned from my students that this upsetting thought of mine is subject to several unfortunate misconstruals, so let me expand on it to ward them off. The killing of thousands of innocents in the World Trade Center was a heinous crime, much more evil than the destruction of the Statue of Liberty would have been. And, yes, the World Trade Center was a much more appropriate symbol of al Qaeda's wrath than the Statue of Liberty would have been, but for that very reason it didn't mean as much, as a symbol, to us. It was Mammon and Plutocrats and Globalization, not Lady Liberty."

"The statue is of Libertas, the Roman goddess of liberty. She holds a plaque in her left hand inscribed with July 4, 1776, in Roman numerals, the date of the Declaration of Independence. Her feet are circled with a broken shackle and chain celebrating US abolition of slavery. France's original idea for the gift occurred at the end of the Civil War. But the idea of liberation of the formerly enslaved rang hollow to those under the boot of a restored Southern order of racist repression. As the editor of the Black-owned newspaper the Cleveland Gazette, put it: “‘Liberty enlightening the world,’ indeed! The expression makes us sick. This government is a howling farce. It cannot or rather does not protect its citizens within its own borders. Shove the Bartholdi statue, torch and all, into the ocean until the "liberty" of this country is such as to make it possible for an inoffensive and industrious colored man to earn a respectable living for himself and family, without being ku-kluxed, perhaps murdered, his daughter and wife outraged, and his property destroyed. The idea of the "liberty" of this country "enlightening the world," or even Patagonia, is ridiculous in the extreme." And it is certain that "liberty" was laughable to the captive Geronimo and his people, who at the time were being shipped in chains to a dungeon prison at Fort Marion, Florida, or to those Indigenous nations that had been incarcerated in reservations carved out of their former homelands, learning that Congress was set to divide the reservation lands into marketable allotments, which would end up privatizing three-fourths of the already shrunken Native land base. Or for that matter, those teeming masses of Lazarus's poem, huddled in the overcrowded slums of the Lower East Side in New York City, who were doubtfully even aware of the festivities celebrating liberty…The Statue of Liberty was a marker on the path to the twentieth-century myth of the American Dream."

"Thou warden of the western gate, above Manhattan Bay, The fogs of doubt that hid thy face are driven clean away: Thine eyes at last look far and clear, thou liftest high thy hand To spread the light of liberty world-wide for every land."

"Let us never forget that the deep things that are American are the soul and the spirit. The Statue of Liberty is not tired, and not because it is made of bronze. It is because no matter what happens, here the individual is dignified because he is created in the image of his god. Let us not forget it."

"Not like the brazen giant of Greek fame, With conquering limbs astride from land to land; Here at our sea-washed, sunset gates shall stand A mighty woman with a torch, whose flame Is the imprisoned lightning, and her name Mother of Exiles. From her beacon-hand world-wide welcome; her mild eyes command The air-bridged harbor that twin cities frame. "Keep, ancient lands, your storied pomp!" cries she With silent lips. "Give me your tired, your poor, Your huddled masses yearning to breathe free, The wretched refuse of your teeming shore. Send these, the homeless, tempest-tost to me, I lift my lamp beside the golden door!""

"Taking the form of a veiled peasant woman the statue was to stand 86 feet high, and its pedestal was to rise to a height of 48 feet."

"You know that our Statue of Liberty was a gift from France, and its sculptor, Auguste Bartholdi, was a son of France. I don't know if you've ever studied the face of the statue, but immigrants entering New York Harbor used to strain to see it, as if it would tell them something about their new world. It's a strong, kind face. It is the face of Bartholdi's mother, a woman of Alsace. And so, among the many things we Americans thank you for, we thank you for her. The Statue of Liberty—made in Europe, erected in America—helps remind us not only of past ties but present realities. It is to those realities we must look in order to dispel whatever doubts may exist about the course of history and the place of free men and women within it. We live in a complex, dangerous, divided world; yet a world which can provide all of the good things we require—spiritual and material—if we but have the confidence and courage to face history's challenge."

"You have set up in New York Harbor a monstrous idol which you call Liberty. The only thing that remains to complete that monument is to put on its pedestal the inscription written by Dante on the gate of hell: "All hope abandon ye who enter here"."

"The Statue of Liberty is an extension of a tradition that seems to embody the contradictions in America's promise, and a reminder that its promises have not always been extended to us. As the narrator in James Baldwin's 1960 short story "This Morning, This Evening, So Soon" puts it, "I would never know what this statue meant to others, she had always been an ugly joke for me.""

"What a lot of people don’t know is that New York City, for an extended period of time, was the second-largest slave port in the country, after Charleston, South Carolina; that in 1859, on the blink of the Civil War, when South Carolina was about to secede from the Union after the election of Abraham Lincoln, that New York City’s mayor, Fernando Woods, proposed that New York City should also secede from the Union alongside the Southern states, because New York’s financial and political infrastructure were so deeply entangled and tied to the slavocracy of the South; also that the Statue of Liberty was originally conceived by Édouard de Laboulaye, a French abolitionist, who conceived of the idea of the Statue of Liberty and giving it to the United States as a gift, that it was originally conceived as an idea to celebrate the end of the Civil War and to celebrate abolition. The original conception of the statue actually had Lady Liberty breaking shackles, like a pair of broken shackles on her wrists, to symbolize the end of slavery. And over time, it became very clear that that would not have the sort of wide stream — or, wide mainstream support of people across the country, obviously this having been just not too long after the end of the Civil War, so there were still a lot of fresh wounds. And so they shifted the meaning of the statue to be more about sort of inclusivity, more about the American experience, the American project, the American promise, the promise of democracy, and sort of obfuscated the original meaning, to the point where even the design changed. And so they replaced the shackles with a tablet and the torch, and then put the shackles very subtly sort of underneath her robe. And you can — but the only way you can see them, these broken chains, these broken links, are from a helicopter or from an airplane. And in many ways, I think that that is a microcosm for how we hide the story of slavery across this country, that these chain links are hidden, out of sight, out of view of most people, under the robe of Lady Liberty, and how the story of slavery across this country is very — as we see now, very intentionally trying to be hidden and kept from so many people, so that we have a fundamentally inconsistent understanding of the way that slavery shaped our contemporary society today."

"The Statue of Liberty means everything. We take it for granted today. We take it for granted. Remember the Statue of Liberty stands for what America is. We as Democrats have to remind ourselves and remind the country the great principles we stand for. This is a place of protection. This is not a country of bullies. We are not an empire. We are the light. We are the Statue of Liberty."

"The view... from my apartment... was the World Trade Center... And now it's gone. And they attacked it. This symbol of... of American ingenuity and strength... and labor and imagination and commerce and it's gone. But you know what the view is now? The Statue of Liberty. The view from the south of Manhattan is the Statue of Liberty. You can’t beat that."

"The seven liberal arts do not adequately divide theoretical philosophy; but, as Hugh of St. Victor says, seven arts are grouped together (leaving out certain other ones), because those who wanted to learn philosophy were first instructed in them. And the reason why they are divided into the trivium and quadrivium is that “they are as it were paths (viae) introducing the quick mind to the secrets of philosophy.”"

"The fitting order of learning will therefore be as follow: First boys should be instructed in logical matters, since logic teaches the method of the whole philosophy. Secondly, however, they should be instructed in mathematics, which neither requires experience, nor transcends the imagination. Thirdly, they should be instructed in natural things, which, even though they do not exceed sense and imagination, nevertheless require experience. Fourthly, in moral matter, which require experience and a mind free from its passions, as is stated in Book I. Fifthly, however, in sapiential and divine things, which transcend the imagination and require a strong intellect."

"There can be no doubt that children should be taught those useful things which are really necessary, but not all things, for occupations are divided into liberal and illiberal; and to young children should be imparted only such kinds of knowledge as will be useful to them without vulgarizing them. And any occupation, art, or science which makes the body, or soul, or mind of the freeman less fit for the practice or exercise of virtue is vulgar; wherefore we call those arts vulgar which tend to deform the body, and likewise all paid employments, for they absorb and degrade the mind. There are also some liberal arts quite proper for a freeman to acquire, but only in a certain degree, and if he attend to them too closely, in order to attain perfection in them, the same evil effects will follow."

"The assumption is all but universal among those who control our educational policies from the elementary grades to the university that anything that sets bounds to the free unfolding of the temperamental proclivities of the young, to their right of self-expression, as one may say, is outworn prejudice. Discipline, so far as it exists, is not of the humanistic or the religious type, but of the kind that one gets in training for a vocation or a specialty. The standards of a genuinely liberal education, as they have been understood, more or less from the time of Aristotle, are being progressively undermined by the utilitarians and the sentimentalists. If the Baconian-Rousseauistic formula is as unsound in certain of its postulates as I myself believe, we are in danger of witnessing in this country one of the great cultural tragedies of the ages."

"A liberal arts background was a hard thing to overcome, but she was doing great."

"ARTS, Liberal, or Seven Liberal. The distinction between the liberal arts and the practical arts on the one hand, and philosophy on the other, originates in Greek education and philosophy. In the Republic (Bk. xi.) of Plato, and the Politics (viii. 1) of Aristotle, the ‘liberal arts’ are those subjects that are suitable for the development of intellectual and moral excellence, as distinguished from those that are merely useful or practical. The distinction was always made, by the Greek theorists, between music, literature in the form of grammar and rhetoric, and the mathematical studies, and that higher aspect of the liberal discipline termed philosophy. Philosophy was sometimes called the liberal art par excellence."

"After , many of my classmates took their supposedly useless liberal arts education out of the and into the realms of politics, law, business, journalism, and s. They founded s and peopled s, , the New York Times, s, and high reaches of the US government. They found, in other words that study for its own sake—that is, study without visible results or high-prestige s—was enormously useful for other ends."

"A discussion of the ideal college training from these three different aspects, the highest development of the individual student, the proper relation of the college to the professional school, the relation of the students to each other, would appear to lead in each case to the same conclusion; that the best type of liberal education in our complex modern world aims at producing men who know a little of everything and something well."

"Note too that a faithful study of the liberal arts humanizes character and permits it not to be cruel."

"A liberal arts education remains unequalled for the exercise and development of the most valuable qualities of the mind: penetration of thought, broadmindedness, fineness of analysis, gifts of expression."

"Roger B. Smith identified the following skills and mental processes required of today’s managers as those acquired and sharpened in the study of the liberal arts."

"# Individuals are trained to recognize recurring elements and common themes."

"# They are trained to see relationships between things that may seem different."

"# They are trained to combine familiar elements into new forms."

"# They learn to arrange their thoughts in logical order, to write and speak clearly and economically."

"# They learn to tolerate ambiguity and to bring order out of confusion."

"# They are accustomed to a relatively unstructured and unsupervised research and discovery process and feel comfortable with nonconformity."

"# They have insight into the fit of form with function."

"# They have learned sideways thinking, the cross classifying habit of mind that comes from learning many different ways to look at things."

"# They have learned to replace confrontation with cooperation and the principles of conflict resolution."

"# They have learned the importance of intellectual integrity, social responsibility, and ethical commitment."

"# They learn that the effective management of change comes from the habit of being receptive to new information, to new paths to traditional goals, even to new goals."

"# They have learned to uncover truths in many forms, and that an answer need not be final."

"# They need to see the worth of the impact of what they do, to understand its place in the larger schemes of things."

"It was once said that democracy is the regime that stands or falls by virtue: a democracy is a regime in which all or most adults are men of virtue, and since virtue seems to require wisdom, a regime in which all or most adults are virtuous and wise, or the society in which all or most adults have developed their reason to a high degree, or the rational society. Democracy, in a word, is meant to be an aristocracy which has broadened into a universal aristocracy. … Liberal education is the ladder by which we try to ascend from mass democracy to democracy as originally meant."

"The expression artes liberales, chiefly used during the Middle Ages, does not mean arts as we understand the word at this present day, but those branches of knowledge which were taught in the schools of that time. They are called liberal (Latin liber, free), because they serve the purpose of training the free man, in contrast with the artes illiberales, which are pursued for economic purposes; their aim is to prepare the student not for gaining a livelihood, but for the pursuit of science in the strict sense of the term, i.e. the combination of philosophy and theology known as scholasticism. They are seven in number and may be arranged in two groups, the first embracing grammar, rhetoric, and dialectic, in other words, the sciences of language, of oratory, and of logic, better known as the artes sermocinales, or language studies; the second group comprises arithmetic, geometry, astronomy, and music, i.e. the mathematico-physical disciplines, known as the artes reales, or physicae."

"The very beginning of the soul’s purgation is tranquility, in which the tongue is not given to discussing the affairs of men, nor the eyes to contemplating rosy cheeks or comely bodies, nor the ears to lowering the tone of the soul by listening to songs whose sole object is to amuse, or to words spoken by wits and buffoons—a practice which above all things tends to relax the tone of the soul."

"When the mind is not dissipated upon extraneous things, nor diffused over the world about us through the senses, it withdraws within itself, and of its own accord ascends to the contemplation of God."

"“Television, movies, books, all of these things, a lot of people like to believe they’re just fun and games, that they really don’t affect us, it’s just entertainment,” says Dr. Rebecca M. Chory, a professor in Frostburg State University’s business school who has studied TV’s influence on attitudes toward healthcare. “But the research consistently shows that’s not true.”"

"ENTERTAINMENT, n. Any kind of amusement whose inroads stop short of death by injection."

"To Plato and Nietzsche, the history of music is a series of attempts to give form and beauty to the dark, chaotic, premonitory forces in the soul—to make them serve a higher purpose, an ideal, to give man’s duties a fullness. … Such cultivation of the soul uses the passions and satisfies them while sublimating them and giving them an artistic unity. A man whose noblest activities are accompanied by a music that expresses them while providing a pleasure extending from the lowest bodily to the highest spiritual, is whole, and there is no tension in him between the pleasant and the good. By contrast a man whose business life is prosaic and unmusical and whose leisure is made up of coarse, intense entertainments, is divided, and each side of his existence is undermined by the other."

"The ascetic Gotama … avoids watching dancing, singing, music and shows. He abstains from using garlands, perfumes, cosmetics, ornaments and adornments. … He refrains from running errands, from buying and selling."

""Or he might say: 'Whereas some honorable recluses and brahmins, while living on food offered by the faithful, attend unsuitable shows, such as: shows featuring dancing, singing, or instrumental music; theatrical performances; narrations of legends; music played by hand-clapping, cymbals, and drums; picture houses; acrobatic performances; combats of elephants, horses, buffaloes, bulls, goats, rams, cocks and quails; stick-fights, boxing and wrestling, sham-fights, roll-calls, battle-arrays, and regimental reviews — the recluse Gotama abstains from attending such unsuitable shows.'"

"Advertisers will want to avoid programs with serious complexities and disturbing controversies that interfere with the “buying mood”. They seek programs that will lightly entertain and thus fit in with the spirit of the primary purpose of program purchases—the dissemination of a selling message."

"Drive away with the hand of humility every transitory joy, as being unworthy of it, lest by readily admitting it you receive a wolf instead of a shepherd."

"Turn my eyes away from gazing at worthless things, and revive me by your ways."

"The world of the distraction or diversion or perversion of humanity by technology culminates in adoration, veneration, and beatification, in the expression of properly religious sentiment. As Marx showed, alienation leads to religion. Humanity, when diverted, also becomes religious. The star system has been functioning for a long time. In the entertainment world the star becomes the idol in the primary sense, the absolute, transcendent image, a veritable Allah."

"Perhaps the biggest reason why intellectuals excoriated entertainment was that they understood all too well their own precariousness in a world dominated by it. For whatever the overt content of any particular work, entertainment as a whole promulgated an unmistakable theme, one that took dead aim at the intellectuals’ most cherished values. That theme was the triumph of the senses over the mind, of emotion over reason, of chaos over order, or the id over the superego, of Dionysian abandon over Apollonian harmony. Entertainment was Plato’s worst nightmare. It deposed the rational and enthroned the sensational and in so doing deposed the intellectual minority and enthroned the unrefined majority."

"I am the entertainer and I know just where I stand, Another serenader and another long haired band. Today I am your champion, I may have won your hearts. But I know the game, you'll forget my name. And I won't be here in another year If I don't stay on the charts."

"Literature … seeks to entertain—and why is this? … The reason, fundamentally, is that literature knows something that science does not: the human resistance to hearing the truth. Science does not inform scientists of this basic fact. … The wisdom of literature arises mainly from its attention to this point. To overcome the resistance to truth, literature makes use of fictions that are images of truth."

"If I write a crappy comic book, it doesn't cost the budget of an emergent Third World nation. When you've got these kinds of sums involved in creating another two hours of entertainment for Western teenagers, I feel it crosses the line from being merely distasteful to being wrong."

"With the lights out, it's less dangerous. Here we are now, entertain us. I feel stupid and contagious. Here we are now, entertain us."

"Popular entertainments of all kinds have been blamed for dragging down public morals in a gathering pattern of accusation which remains essentially the same even though it is attached to radically different forms of amusement : pre-modern feasts and festivals; eighteenth-century theatres and bawdy-houses, mid-nineteenth-century penny gaffs; the Music Halls of the “Gay” Nineties ; the first flickering danger-signs from the silent movies ; the Hollywood picture palaces between the wars ; and television viewing in our own historical time. Each, in its own time, has been accused of encouraging a moral debauch; each has been said to encourage imitative crime among the young."

"Where the company are real gentlemen and men of education, you will see no flute-girls, nor dancing-girls, nor harp-girls; and they have no nonsense or games, but are contented with one another’s conversation, of which their own voices are the medium, and which they carry on by turns and in an orderly manner. ... A company like this of ours, and men such as we profess to be, do not require the help of another’s voice. ... This sort of entertainment they decline, and prefer to talk with one another, and put one another to the proof in conversation."

"Those who practice speaking in a way to catch the favor of vulgar herd also turn out in general to be incontinent in their lives and fond of pleasure. And this surely is to be expected; for if, in providing pleasure for others, they disregard what is honorable, they would be slow to place that which is upright and sound above the gratification of their own pleasures and luxurious tastes, and slow to pursue the temperate course instead of the agreeable."

"One should eliminate yearning that arises for various idle conversations, which often take place, and for all kinds of entertainment."

"What a man is by himself, what accompanies him into solitude, and what no one can give to him or take from him is obviously more essential to him than everything he possesses, or even what he may be in the eyes of others. A man of intellect, when entirely alone, has excellent entertainment in his own thoughts and fancies, whereas the continuous diversity of parties, plays, excursions, and amusements cannot ward off from the dullard the tortures of boredom."

"Dancing, the theatre, society, card-playing, games of chance, horses, women, drinking, traveling, and so on … are not enough to ward off boredom where intellectual pleasures are rendered impossible by lack of intellectual needs."

"The early Christians had to resist the unwholesome environment in the pleasure-seeking world around them. At the Roman circus, spectators were entertained by viewing the sufferings of others. Violence, bloodshed, and sexual immorality were staged for the amusement of the populace, but the early Christians stayed away from such things. Today, much of the world’s entertainment features similar elements and caters to base human appetites. We need to “keep strict watch” on how we walk, turning away from demoralizing entertainment. (Eph. 5:15, 16; Ps. 11:5) And even if the entertainment itself may not be objectionable, the general atmosphere may be unacceptable. -1 Pet. 4:1-4"

"What man needs is silence and warmth; what he is given is an icy pandemonium."

"Whatever weakens your reason, impairs the tenderness of your conscience, obscures your sense of God, takes off your relish for spiritual things, whatever increases the authority of the body over the mind, that thing is sin to you, however innocent it may seem in itself."

"For the amoral herd that fears boredom above all else, everything becomes entertainment. Sex and sport, politics and the arts are transformed into entertainment. … Nothing is immune from the demand that boredom be relieved (but without personal involvement, for mass society is a spectator society)."

"You are fifty years old and would worship a day old statue!"

"Therefore since we are God's offspring, we should not think that the divine being is like gold or silver or stone—an image made by man's design and skill. In the past God overlooked such ignorance, but now he commands all people everywhere to repent. For he has set a day when he will judge the world with justice by the man he has appointed. He has given proof of this to all men by raising him [Jesus] from the dead."

"The moment the idea is admitted into society, that property is not as sacred as the law of God, and that there is not a force of law and public justice to protect it, anarchy and tyranny commence. If "Thou shall not covet," and "Thou shall not steal," are not commandments of Heaven, they must be made inviolable precepts in every society, before it can be civilized or made free."

"God tells us men fucking men is a terrible thing, but a father offering his two daughters, vestal virgins no less, to a horde of horny buggers is heroic. Now that's straight. … God destroys the faggots with fire and brimstone. He turns a disobedient wife into salt. But he asks us to idolize drunks who sleep with their daughters or offer them to a horny, unruly mob."

"The 'I', the 'self' of the child of God, is born in the midst of the ruins of repented idolatry."

"Islam came out as the enemy of the 'But'. The word 'But' as everybody knows, is the Arabic word and means an idol. Thus the origin of the word indicates that in the Moslem mind idol worship had come to be identified with the Religion of the Buddha. To the Muslims, they were one and the same thing. The mission to break the idols thus became the mission to destroy Buddhism. Islam destroyed Buddhism not only in India but wherever it went."

"For Egypt, the greatest horror was the destruction or abduction of the cult images. In the eyes of the Israelites, the erection of images meant the destruction of divine presence; in the eyes of the Egyptians, this same effect was attained by the destruction of images. In Egypt, iconoclasm was the most terrible religious crime; in Israel, the most terrible religious crime was idolatry. In this respect Osarseph alias Akhenaten, the iconoclast, and the Golden Calf, the paragon of idolatry, correspond to each other inversely, and it is strange that Aaron could so easily avoid the role of the religious criminal. It is more than probable that these traditions evolved under mutual influence. In this respect, Moses and Akhenaten became, after all, closely related."

"To glorify man in his natural and unmodified self is no less surely, even if less obviously, idolatry than actually to bow down before a graven image."

"There is a great difference between the Idols of the human mind and the Ideas of the divine. That is to say, between certain empty dogmas, and the true signatures and marks set upon the works of creation as they are found in nature."

"There are four classes of Idols which beset men's minds. To these for distinction's sake I have assigned names — calling the first class, Idols of the Tribe ; the second, Idols of the Cave; the third, Idols of the Market-Place; the fourth, Idols of the Theater."

"The Idols of Tribe have their foundation in human nature itself, and in the tribe or race of men. For it is a false assertion that the sense of man is the measure of things. On the contrary, all perceptions as well of the sense as of the mind are according to the measure of the individual and not according to the measure of the universe. And the human understanding is like a false mirror, which, receiving rays irregularly, distorts and discolors the nature of things by mingling its own nature with it."

"The Idols of the Cave are the idols of the individual man. For everyone (besides the errors common to human nature in general) has a cave or den of his own, which refracts and discolors the light of nature, owing either to his own proper and peculiar nature; or to his education and conversation with others; or to the reading of books, and the authority of those whom he esteems and admires; or to the differences of impressions, accordingly as they take place in a mind preoccupied and predisposed or in a mind indifferent and settled; or the like. So that the spirit of man (according as it is meted out to different individuals) is in fact a thing variable and full of perturbation, and governed as it were by chance. Whence it was well observed by Heraclitus that men look for sciences in their own lesser worlds, and not in the greater or common world."

"There are also Idols formed by the intercourse and association of men with each other, which I call Idols of the Market Place, on account of the commerce and consort of men there. For it is by discourse that men associate, and words are imposed according to the apprehension of the vulgar. And therefore the ill and unfit choice of words wonderfully obstructs the understanding. Nor do the definitions or explanations wherewith in some things learned men are wont to guard and defend themselves, by any means set the matter right. But words plainly force and overrule the understanding, and throw all into confusion, and lead men away into numberless empty controversies and idle fancies."

"Lastly, there are Idols which have immigrated into men's minds from the various dogmas of philosophies, and also from wrong laws of demonstration. These I call Idols of the Theater, because in my judgment all the received systems are but so many stage plays, representing worlds of their own creation after an unreal and scenic fashion."

"Let men learn (as we have said above) the difference that exists between the idols of the human mind, and the ideas of the Divine mind. The former are mere arbitrary abstractions; the latter the true marks of the Creator on his creatures, as they are imprinted on, and defined in matter, by true and exquisite touches. Truth, therefore, and utility are here perfectly identical."

"The exact meaning of the Arabic rendering of Indian terms is ambiguous, starting with the meaning of budh/budd/but. As the Buddhists had been the first big producers of ornate sculptures for veneration, viz. Buddha statues, the word but became the standard Persian term for "idol", so an idol-worshipper was called But-parast, and an idol-breaker But-shikan, even when the idol was not a Buddha statue. Al-Baladhuri says that "the Indians give in general the name of budd to anything considered with their worship or which forms the object of their veneration. So, an idol is called budd.' (...) In the circumstances, is it likely that the freshly arrived Arab chronicler could distinguish a category of "Buddhists" in the general population of Hindus?... At that stage, the Arab-Muslim newcomers simply couldn't distinguish between Brahmins and Buddhist monks, all But-parasts, "idol-worshippers"."

"Seeing that this brutish stupidity has overspread the globe, men longing after visible forms of God, and so forming deities of wood and stone, silver and gold, or of any other dead and corruptible matter, we must hold it as a first principle, that as often as any form is assigned to God, his glory is corrupted by an impious lie."

"In one word, their theology was in substance this--There is one God who created all the world, and declared His will to us by Moses and the prophets, and finally by Jesus Christ and His apostles; and we have one sole Redeemer, who purchased us by His blood, and by whose grace we hope to be saved: All the idols of the world are curst, and deserve execration."

"For just as soon as a visible form has been fashioned for God, his power is also bound to it. Men are so stupid that they fasten God wherever they fashion him; and hence they cannot but adore. And there is no difference whether they simply worship an idol, or God in the idol. It is always idolatry when divine honors are bestowed on an idol, under whatever pretext this is done. And because it does not please God to be worshiped superstitiously, whatever is conferred upon the idol is snatched from him."

"Just as a maistre Fifi mocks those who hold their noses [in his presence]. because he has handled filth for so long that he can no longer smell his own foulness; so likewise do idolaters make light of those who are offended by a stench they cannot themselves recognize. Hardened by habit, they sit in their own excrement, and yet believe they are surrounded by roses."

"We may also fitly remember that Satan has his miracles, which, though they are deceitful tricks rather than true powers, are such a sort as to mislead the simple-minded and untutored [Thes, 2:9-10] ... Idolatry has been nourished by wonderful miracles, yet these are not sufficient to sanction the superstition either of magicians or of idolators."

"Scripture constantly recalls this rejection of "idols, [of] silver and gold, the work of men's hands. They have mouths, but do not speak; eyes, but do not see." These empty idols make their worshippers empty: "Those who make them are like them; so are all who trust in them."(Psalm 115:4-5, 8; see also Isaiah 44:9-20; Jeremiah 10:1-16; Daniel 14:1-30). God, however, is the "living God" (Joshua 3:10; Psalm 42:3; etc.) who gives life and intervenes in history."

"To me, therefore, that Thracian Orpheus, that Theban, and that Methymnaean,--men, and yet unworthy of the name,--seem to have been deceivers, who, under the pretence of poetry corrupting human life, possessed by a spirit of artful sorcery for purposes of destruction, celebrating crimes in their orgies, and making human woes the materials of religious worship, were the first to entice men to idols; nay, to build up the stupidity of the nations with blocks of wood and stone,--that is, statues and images,--subjecting to the yoke of extremest bondage the truly noble freedom of those who lived as free citizens under heaven by their songs and incantations. But not such is my song, which has come to loose, and that speedily, the bitter bondage of tyrannizing demons; and leading us back to the mild and loving yoke of piety, recalls to heaven those that had been cast prostrate to the earth. It alone has tamed men, the most intractable of animals; the frivolous among them answering to the fowls of the air, deceivers to reptiles, the irascible to lions, the voluptuous to swine, the rapacious to wolves. The silly are stocks and stones, and still more senseless than stones is a man who is steeped in ignorance. As our witness, let us adduce the voice of prophecy accordant with truth, and bewailing those who are crushed in ignorance and folly: "For God is able of these stones to raise up children to Abraham;" and He, commiserating their great ignorance and hardness of heart who are petrified against the truth, has raised up a seed of piety, sensitive to virtue, of those stones--of the nations, that is, who trusted in stones. Again, therefore, some venomous and false hypocrites, who plotted against righteousness, He once called "a brood of vipers." But if one of those serpents even is willing to repent, and follows the Word, he becomes a man of God."

"Therefore, my dear friends, flee from idolatry. I speak to sensible people; judge for yourselves what I say … Do I mean then that a sacrifice offered to an idol is anything, or that an idol is anything? No, but the sacrifices of pagans are offered to demons, not to God, and I do not want you to be participants with demons. You cannot drink the cup of the Lord and the cup of demons too; you cannot have a part in both the Lord's table and the table of demons. Are we trying to arouse the Lord's jealousy? Are we stronger than he?"

"It is not also taught you in Scripture, that you should desire St. Rock to preserve you from the pestilence, to pray to St. Barbarra to defend you from thunder or gun-shot, to offer St. Loy an horse of wax, a pig to St. Anthony, a candle to St, Sithine. But I should be too long, if I were to rehearse unto you all the superstitions that have grown out of the invocation and praying to saints departed, wherewith men have been seduced, and God's honour given to creatures. This was also no small abuse that we called the images by the names of the things, whom they did represent. For we were won't to say, "This is St. Ann's altar ;"-"My father is gone a pilgrimage to our Lady of Walsingham;"-" In our church St. James standeth on the right hand of the high altar." These speeches we were wont to use, although they be not to be commended. For St. Austin in the exposition of the 113th Psalm affirmeth, that they who do call such images, as the carpenter hath made, do change the truth of God into a lie. It is not also taught you in all Scripture. Thus, good children, I have declared how we were wont to abuse images, not that hereby I condemn your fathers, who were men of great devotion, and had an earnest love towards God, although their zeal in all points was not ruled and governed by true knowledge, but they were seduced and blinded partly by the common ignorance that reigned in their time, partly by the covetousness of their teachers, who abused the simplicity of the unlearned people to the maintenance of their own lucre and glory. But this be profitable, for if they had, either Christ would have taught it or the Holy Ghost would have revealed it unto the Apostles, which they did not. And if they did, the Apostles were very negligent that would not make some mention of it, and speak some good word for images, seeing that they speak so many against them. And by this means Anti-christ and his holy Papists had more knowledge or fervent zeal to give s godly things ad profitable for us, than had the very holy saints of Christ, yea more than Christ himself and the Holy Ghost. Now forasmuch, good children, as images be neither necessary nor profitable in our churches and temples, nor were not used at the beginning in Christ's nor the Apostles' time, nor many years after, and that at length they were brought in by bishops of Rome, maugre emperors' teeth; and seeing also, that they be very slanderous to Christ's religion, for by them the name of God is blasphemed among the infidels, Turks, and Jews, which because of our images do call Christian religion, idolatry and worshiping of images: and for as much also, as they have been so wonderfully abused within this realm to the high contumely and dishonor of God, and have been great cause of blindness and of much contention among the King's Majesty's loving subjects and are like so to be still, if they should remain: and chiefly seeing God's word speaketh so much against them, you may hereby right well consider what great causes and ground the King's Majesty had to take them away within his realm, following here in the example of the godly King Hezekias, who brake down the brazen serpent, when he saw it worshiped, and was therefore praised of God, notwithstanding at the first the same was made and set up by God's commandment, and was not only a remembrance of God's benefits, before received, but also a figure of Christ to come. And not only Hezekias, but also Manasses, and Jehosaphat, and Josias, the best kings that were of the Jews, did pull down images in the time of their reign."

"Now the nature of man being ever prone to idolatry from the beginning of the world, and the Papists being ready by all means and policy to defend and extol the mass, for their estimation and profit; and the people being superstitiously enamored and doted upon the mass (because they take it for a present remedy against all manners of evils); and part of the princes being blinded by papistical doctrine part loving quietness, and loth to offend their clergy and subjects, and all being captives and subjects to the antichrist of Rome; the state of the world remaining in this case, it is no wonder that abuses grew and increased in the church, that superstition with idolatry were taken for godliness and true religion, and that many things were brought in without the authority of Christ as purgatory, the oblation and sacrificing of Christ by the priest alone; the application and appointing of the same to such persons as the priests would sing or say mass for, and to such abuses, as they could devise; to deliver some from purgatory, and some from hell (if they were not there finally by God determined to abide, as they termed the matter); to hallow and preserve them that went to Jerusalem, to Rome, to St. James in Compostella, and to other places in pilgrimage; for a preservative against tempest and thunder, against perils and dangers of the sea, fora remedy against murrain of cattle, against pensiveness of the heart, and against all manner of affliction and tribulation"

"The images of their gods you are to burn in the fire. Do not covet the silver and gold on them, and do not take it for yourselves, or you will be ensnared by it, for it is detestable to the LORD your God. Do not bring a detestable thing into your house or you, like it, will be set apart for destruction. Utterly abhor and detest it, for it is set apart for destruction."

"Thou shalt not make unto thee any graven image, or any likeness [of any thing] that [is] in heaven above, or that [is] in the earth beneath, or that [is] in the water under the earth: Thou shalt not bow down thyself to them, nor serve them: for I the LORD thy God [am] a jealous God, visiting the iniquity of the fathers upon the children unto the third and fourth [generation] of them that hate me; And shewing mercy unto thousands of them that love me, and keep my commandments."

"When praying on behalf of Pharaoh to remove the plague of hail from him, Moses went out of the town to do so (Exod. 9. 20), because he would not pray in the midst of the idols and abominations that polluted the place and rendered it unfit for prayer to the throne of mercy. He went into the open, pure air of God to pray to God."

"For the purpose of effecting Israel's redemption God did not disdain to appear in a place where there were images of idols or other impurities."

"And He said unto me: 'Go in, and see the wicked abominations that they do here.' 10 So I went in and saw; and behold every detestable form of creeping things and beasts, and all the idols of the house of Israel, portrayed upon the wall round about. 11 And there stood before them seventy men of the elders of the house of Israel, and in the midst of them stood Jaazaniah the son of Shaphan, every man with his censer in his hand; and a thick cloud of incense went up. 12 Then said He unto me: 'Son of man, hast thou seen what the elders of the house of Israel do in the dark, every man in his chambers of imagery? for they say: The LORD seeth us not, the LORD hath forsaken the land.' 13 He said also unto me: 'Thou shalt again see yet greater abominations which they do.' 14 Then He brought me to the door of the gate of the LORD'S house which was toward the north; and, behold, there sat the women weeping for Tammuz. 15 Then said He unto me: 'Hast thou seen this, O son of man? thou shalt again see yet greater abominations than these.' 16 And He brought me into the inner court of the LORD'S house, and, behold, at the door of the temple of the LORD, between the porch and the altar, were about five and twenty men, with their backs toward the temple of the LORD, and their faces toward the east; and they worshipped the sun toward the east."

"Nationalism is our form of incest, is our idolatry, is our insanity. "Patriotism” is its cult. It should hardly be necessary to say, that by "patriotism” I mean that attitude which puts the own nation above humanity, above the principles of truth and justice; not the loving interest in one’s own nation, which is the concern with the nation’s spiritual as much as with its material welfare — never with its power over other nations. Just as love for one individual which excludes the love for others is not love, love for one’s country which is not part of one’s love for humanity is not love, but idolatrous worship."

"It is time to cease to argue about God, and instead to unite in the unmasking of contemporary forms of idolatry."

"Oh ! what a frightful business is this modern society; the race for wealth — wealth. I am ashamed to write the word. Wealth means well-being, weal, the opposite of woe. And is that money? or can money buy it? We boast much of the purity of our faith, of the sins of idolatry among the Romanists, and we send missionaries to the poor unenlightened heathens, to bring them out of their darkness into our light, our glorious light; but oh! if you may measure the fearfulness of an idol by the blood which stains its sacrifice, by the multitude of its victims, where in all the world, in the fetish of the poor negro, in the hideous car of Indian Juggernaut, can you find a monster whose worship is polluted by such enormity as this English one of money!"

"Every concept that comes from some comprehensible image, by an approximate understanding and by guessing at the Divine nature, constitutes a idol of God and does not proclaim God."

"Three things there be in man's opinion dear, Fame, many friends, and fortune's dignities: False visions all, which in our sense appear, To sanctify desire's idolatry."

"Of what benefit is a carved image when its maker has carved it? Of what benefit is a metal statue and a teacher of lies, even though its maker trusts in it, making worthless gods that are speechless? Woe to the one who says to a piece of wood, “Awake!” Or to a speechless stone, “Wake up! Instruct us!” Look! It is overlaid in gold and silver, and there is no breath at all within it."

"To Hosea, marriage is the image for the relationship of God and Israel. ... Idolatry is adultery. More than objective falsehood, it is a betrayal of God; more than stupidity, it is lewdness."

"He retreats like a General and attacks like a Hero. If there are spots in his character, they are like the spots in the Sun; only discernable by the magnifying powers of a telescope. Had he lived in the days of idolatry he had been worshipped as a God. One age cannot do justice to his merit; but the united voices of a grateful posterity shall pay a chearful tribute of undissembled praise to the great assertor of their country's freedom."

"The early Christians would have looked with horror at the bare suggestion of placing images in the churches, and would have considered bowing down or praying before them as nothing less than idolatry."

"In a state brought under Muslims, all those who do not embrace the faith are placed under certain disabilities. They can worship God according to their own customs provided they are not idolaters... Idol temples must be destroyed, and idolatry suppressed by force in all countries ruled according to strict Muslim law. (Hidiyah, vol. ii. p. 219)"

"But they [idolators] are, in a later Surah (nearly the last), ix. 28 declared unclean, and forbidden to enter the sacred temple at Makkah. That was after Muhammad had destroyed the idols in his last pilgrimage to the Sacred House. "O Believers! Only they who join gods with God are unclean! Let them not, therefore, after this their year, come neat the sacred temple. And if ye fear want, God, if He please, will enrich you of His abundance: for God is Knowing, Wise." In a Surah given about the same time (iv. 51, 116), idolatry is declared to be the unpardonable sin:- "Verily, God will not forgive the union of other gods with Himself! But other than this will He forgive to whom He pleaseth. And he who uniteth gods with God hath devised a great wickedness." "God truly will not forgive the joining other gods with Himself. Other sins He will forgive to whom He will; but he who joineth gods with God, hath erred with far-gone error." Nor is it lawful for Muslims to pray for the souls of idolaters, as is evident from Surah ic. 114: "It is not for the prophet or the faithful to pray for the forgiveness of those, even though they be of kin, who associate other beings with God, after it hath been made clear to them that they are to be inmates of Hell." From the chapters from the Qur'an, already quoted, it will be seen that from the very first Muhammad denounced idolatry. But the weakness of his position compelled him to move cautiously. The expressions contained in the al-Madinah Surahs, given when Muhammad could not enter Makkah, are much more restrained than those in the Surahs given after the capture of Makkah and the destruction of the idols of the Ka'bah. At an early period (about the fifth year) of his mission, Muhammad seems to have contemplated a compromise and reconciliation with Makkan idolatry...."But their words disquieted Mahomet, and he retired to his house. In the evening Gabriel visited him, and the Prophet (as was his wont) recited the Sura unto him. And Gabriel said, ‘What is this that thou hast done? Thou hast repeated before the people words that I never gave unto thee.' So Mahomet grieved sore, and feared the Lord greatly; and he said, ‘I have spoken of God that which he hath not said.' But the Lord comforted His Prophet, and restored his confidence, and canceled the verse, and revealed the true reading thereof (as it now stands)... So the two Satanic verses were in the mouth of every one of the unbelievers, and they increased their malice, and stirred them up to persecute the faithful with still greater severity.""

"What avails, then, the folly of the painter, who from sinful love of gain depicts that which should not be depicted—that is, with his polluted hands he tries to fashion that which should only be believed in the heart and confessed with the mouth? He makes an image and calls it Christ."

"If anyone shall endeavor to represent the forms of the Saints in lifeless pictures with material colors which are of no value (for this notion is vain and introduced by the devil), and does not rather represent their virtues as living images in himself, let him be anathema!"

"Back then, if you reviled the idols, they would stone you or put you to a miserable death. Now in our times, every passion has taken the place of an idol. And if you reprove or criticize the passion that you see overcoming each person, they all shout, “Stone him, because he reviled our gods!”"

"When people say, "I know God forgives me, but I can't forgive myself," they mean that they have failed an idol, whose approval is more important than God's."

"When I went to Methodist youth fellowship, we were taught that the Catholics were all going to go to hell because they worship idols. So right there, I'm saying to myself, "Catholics are going to go to hell, but my aunt Molly married a Catholic and she converted and she's got 11 kids and they're all pretty nice and one of them's my good friend – they're all going to go to hell?" I'm thinking to myself, "This is bullshit." And if that's bullshit, how much of the rest of it is bullshit?"

"The Mass is Idolatry. All worshipping, honouring, or service invented by the brain of man in the religion of God, without his own express commandment, is idolatry. The Mass is invented by the brain of man, without any commandment of God; therefore it is idolatry."

"Trouble me not; such an idol is accursed, and therefore I will not touch it.' The patron and the arguesyn (i.e. sergeant who commanded the forcasts) with two officers, having the chief charge of all such matters, said, 'Thou shalt handle it,' and so they violently thrust it to his face, and put it betwixt his hands, who seeing the extremity, taking the idol and advisedly looking about, he cast it into the river, and said, 'Let our lady now save herself; she is light enough; let her learn to swim.' After that was no Scotchman urged with that idolatry."

"You can safely assume you've created God in your own image when it turns out that God hates all the same people you do."

"[Idolatry] consists not merely in erecting an image and worshiping it, but rather in the heart, which stands gaping at something else, and seeks help and consolation from creatures, saints, or devils, and neither cares for God, nor looks to Him for so much good as to believe that He is willing to help, neither believes that whatever good it experiences comes from God."

"The heathen really make their self-invented notions and dreams of God and idol. Ultimately, they put their trust in that which is nothing. So it is with all idolatry. For it happens not merely by erecting an image and worshipping it, but rather it happens in the heart. For the heart seeks help and consolation from creatures, saints, or devils. It neither cares for God, nor looks to Him for anything better than to believe that He is willing to help."

"Superstition, idolatry, and hypocrisy have ample wages, but truth goes a-begging."

"It is distinctly said in the Law that everything which idolaters consider as service to their gods, and a means of approaching them, is rejected and despised by God... Thus all precepts cautioning against idolatry, or against that which is connected therewith, leads to it, or is related to it, are evidently useful."

"The custom which was in those days general among all men, and the general mode of worship in which the Israelites were brought up, consisted in sacrificing animals in those temples which contained certain images to bow down to those images, and to burn incense before them; religious and ascetic persons were in those days the persons that were devoted to the service in the temples erected to the stars... It was in accordance with the wisdom and plan of God, as displayed in the whole Creation, that He did not command us to give up and to discontinue all these manners of service, for to obey such a commandment it would have been contrary to the nature of man, who generally cleaves to that to which he is used... By this Divine plan it was effected that the traces of idolatry were blotted out, and the truly great principle of our faith, the existence and Unity of God, was firmly established; this result was thus obtained without deterring or confusing the minds of the people by the abolition of the service to which they were accustomed and which alone was familiar to them."

"After a long time the great and awful Name was forgotten and the people, men, women and children, only recognized an image of wood or stone and the temple of wood or stone which they had been brought up from infancy to serve by bowing down. ... Abraham ... knew that all were mistaken and that what caused them to err was worship of the images which drove the Truth out of their minds."

"I am alone in my monotonous country, While all those around me live in the idolatry Of a mirror reflecting in its depths serene Herodiade, whose gaze is diamond keen ... O final enchantment! yes, I sense it, I am alone."

"The idol depends on the gaze that it satisfies, since if the gaze did not desire to satisfy itself in the idol, the idol would have no dignity for it."

"The gaze strains itself to see the divine, to see it by taking it up into the field of the gazeable. The more powerfully the aim is deployed, the longer it sustains itself, the richer, more extensive and more sumptuous will appear the idol on which it will stop its gaze. ... In this stop, the gaze ceases to overshoot and transpierce itself, hence it ceases to transpierce visible things, in order to pause in the splendor of one of them."

"Der Staat lügt in allen Zungen der Guten und Bösen; und was er auch redet, er lügt – und was er auch hat, gestohlen hat er's. Falsch ist alles an ihm; mit gestohlenen Zähnen beißt er, der Bissige. Falsch sind selbst seine Eingeweide. Sprachverwirrung des Guten und Bösen: dieses Zeichen gebe ich euch als Zeichen des Staates. Wahrlich, den Willen zum Tode deutet dieses Zeichen! Wahrlich, es winkt den Predigern des Todes!"

"Watch them clamber, these swift monkeys! They clamber over one another and thus drag one another into the mud and the depth. They all want to get to the throne: that is their madness — as if happiness sat on the throne. Often, mud sits on the throne — and often the throne also on mud. Mad they all appear to me, clambering monkeys and overardent. Foul smells their idol, the cold monster: foul, they smell to me altogether, these idolators."

"There are more idols than realities in the world: that is my "evil eye" for this world, which is also my "evil ear.""

"All that philosophers have handled for millennia, were conceptual mummies; there was nothing real to life from their hands. They kill, they fill out that these gentlemen term, idolaters, when they worship — they are all dangerous when they worship."

"Sociology has up to the present almost always seen only one aspect of the historical State. It has only seen the State as the guardian of peace and justice. Indeed it is commonly assumed that peace and justice did not exist until the State came into being. This is a great error; the community which preceded the State defended its territory and the lives and property of its members to the utmost, and was exceedingly energetic in maintaining internal equality of rights. The State merely took over from the community these two tasks, which must be carried out if any kind of society is to exist at all. This misconception cherished by previous sociology is the cause of its idolatry of the State, taking the form of State-worship. Peace and justice are great benefits to society, and consequently it is assumed, that the State, which is regarded not merely as the guardian of peace and justice, but as the only possible means by which they can be created, must be the greatest of all benefits. In reality however the State is nothing but one community living as a parasite upon another."

"If God should turn away from himself as the Source of infinite joy, he would cease to be God. He would deny the infinite worth of his own glory. He would imply that there is something more valuable outside himself. He would commit idolatry ... Where will we find a Rock of integrity in the universe when the heart of God has ceased to value supremely the supremely valuable?"

"The unity of God is a doctrine on which the greatest stress is laid in the whole system of revelation. To guard this most important article was the principal object of the Jewish religion; and, notwithstanding the proneness of the Jews to idolatry, at length it fully answered its purpose in reclaiming them, and in impressing the minds of many persons of other nations in favour of the same fundamental truth."

"As the greatest things often take their rise from the smallest beginnings, so the worst things sometimes proceed from good intentions. This was certainly the case with respect to the origin of Christian Idolatry. All the early heresies arose from men who wished well to the gospel, and who meant to recommend it to the Heathens, and especially to philosophers among them, whose prejudices they found great difficulty in conquering."

"The reason why I entered into a religious order is this: first, the great misery of the world, the wickedness of men, the rapes, the adulteries, the thefts, the pride, the idolatry, the vile curses, for the world has come to such a state that one can no longer find anyone who does good; so much so that many times every day I would sing this verse with tears in my eyes: Alas, flee from cruel lands, flee from the shores of the greedy. I did this because I could not stand the great wickedness of the blind people of Italy, especially when I saw that virtue had been completely cast down and vice raised up."

"Most often people think of idols as man-created statues that are worshipped as though they were G-d. This is a very narrow perspective of idolatry. The real meaning of idol worship is stated in the Book of Psalms, and it is the worship of maaseh bnai adam, objects and ideas that are of our own creation. When we create an object or an idea and endow it with transcendental qualities, we become idol worshippers."

"The art of government is the organization of idolatry."

"Revenge is the naked idol of the worship of a semi-barbarous age."

"Tacitus says, that the Jews held God to be something eternal and supreme, neither subject to change nor to decay; therefore, they permit no statues in their cities or their temples. The universal Being can only be described or defined by negatives which deny his subjection to the laws of all inferior existences. Where indefiniteness ends, idolatry and anthropomorphism begin."

"Fame, power, and gold, are loved for their own sakes — are worshipped with a blind, habitual idolatry. The pageantry of empire, and the fame of irresistible might, are contemplated by the possessor with unmeaning complacency, without a retrospect to the properties which first made him consider them of value. It is from the cultivation of the most contemptible properties of human nature that discord and torpor and indifference, by which the moral universe is disordered, essentially depend. So long as these are the ties by which human society is connected, let it not be admitted that they are fragile."

"Whosoever recognizes idols has denied the entire Torah; and whosoever denies idols has recognized the entire Torah."

"Instantly you should awaken, walk in the right way, keep aloof from all abomination and idolatry, forsake false prophets, preachers and priests; and seek the true teachers, sacraments and divine service; for a true, sincere, Christian faith cannot be idle; but it changes, renews, purifies, sanctifies and justifies more and more; it makes joyous and glad, for by faith it knows that hell, devil, sin and death, are conquered through Christ, and that grace, mercy, and redemption from sin and eternal life, are acquired through him."

"Wherever public worship has been established and regularly aintained, idolatry has vanished from the face of the earth. There is not now a temple to a heathen god where the word of God is read."

"Whosoever denies idols is called a Jew."

"If you uproot the idol and fail to plant the love of Christ in its place, the idol will grow back."

"The principal crime of the human race, the highest guilt charged upon the world, the whole procuring cause of judgment, is idolatry."

"If no law of God had prohibited idols to be made by us; if no voice of the Holy Spirit uttered general menace no less against the makers than the worshippers of idols; from our sacrament itself we would draw our interpretation that arts of that kind are opposed to the faith. For how have we renounced the devil and his angels, if we make them? What divorce have we declared from them, I say not with whom, but dependent on whom, we live? What discord have we entered into with those to whom we are under obligation for the sake of our maintenance? Can you have denied with the tongue what with the hand you confess? unmake by word what by deed you make? preach one God, you who make so many? preach the true God, you who make false ones? "I make," says one, "but I worship not;" as if there were some cause for which he dare not worship, besides that for which he ought not also to make,--the offence done to God, namely, in either case. Nay, you who make, that they may be able to be worshipped, do worship; and you worship, not with the spirit of some worthless perfume, but with your own; nor at the expense of a beast's soul, but of your own. To them you immolate your ingenuity; to them you make your sweat a libation; to them you kindle the torch of your forethought. More are you to them than a priest, since it is by your means they have a priest; your diligence is their divinity. Do you affirm that you worship not what you make? Ah! but they affirm not so, to whom you slay this fatter, more precious and greater victim, your salvation."

"All over the world you will find images in some form or other. With some, it is in the form of a man, which is the best form…One sect thinks a certain form is the right sort of image, and another, thinks it is bad. The Christian thinks that when God came in the form of a dove it was alright, but if he comes in the form of a fish, as the Hindus say, it is very wrong and superstitious. The Jews think if an idol be made in the form of a chest with two angels sitting on it, and a book on it, it is all right, but if it is in the form of a man or a woman, it is awful. The Mohammedans think that when they pray, if they try to form a mental image of temple with the Caaba, the black stone in it, and turn towards the west, it is alright, but if you form the image in the shape of church it is idolatry. This is the defect of image worship, yet all these seem to be necessary stages."

"Maurras, with perfect logic, is an atheist. The Cardinal [Richelieu], in postulating something whose whole reality is confined to this world as an absolute value, committed the sin of idolatry. ... The real sin of idolatry is always committed on behalf of something similar to the State."

"Our patriotism comes straight from the Romans. This is why French children are encouraged to seek inspiration for it in Corneille. It is a pagan virtue, if these two words are compatible. The word pagan, when applied to Rome, really possesses the significance charged with horror which the early Christian controversialists gave it. The Romans really were an atheistic and idolatrous people; not idolatrous with regard to images made of stone or bronze, but idolatrous with regard to themselves. It is this idolatry of self which they have bequeathed to us in the form of patriotism."

"The Hebrews took for their idol, not something made of metal or wood, but a race, a nation, something just as earthly. Their religion is essentially inseparable from such idolatry, because of the notion of the "chosen people.""

"As there is no firm foundation for the love of our brethren, except the love of God, so there is no possibility of loving God, except we keep ourselves from idols."

"The duty of the survivor is to bear testimony to what happened... You have to warn people that these things can happen, that evil can be unleashed. Race hatred, violence, idolatries—they still flourish."

"Just as it would be an impossible task to survey everything that has been written on iconography in the polytheistic tradition of India, so it would be an equally impossible task to survey everything that was written against images in the monotheistic tradition. The word idolatry is formed from the Greek eidoolon, 'image', and latreia, 'adoration'. Hence, from a strictly etymological point of view, idolatry would mean nothing more than 'adoration of images'. However, the concept of idolatry originated in the con- text of the monotheism of Israel, i.e. in the application of the Second Commandment, forbidding the making of representations of the divinity. Idolatry is what was to be censured of the pagan cults by the prophets of Israel. As such the concept passed into the New Testament and early Christianity, and, ultimately, into Islam, with the result that all three great monotheisms censured idolatry. In other words, it was through Greek translators of the Bible that eidoolon acquired the meaning of 'false god': nothing but vanity, molded metal and carved wood."

"It is clear that the images and other representations which we have in the houses of worship have caused the risk of idolatry. Therefore they should not be allowed to remain there, nor in your chambers, nor in the market-place, nor anywhere else where one does them honor. Chiefly they are not to be tolerated in the churches, for all that is in them should be worthy of our respect. If anyone desires to put historical representations on the outside of the churches that may be allowed, so long as they do not incite to their worship. But when one begins to bow before these images and to worship them, then they are not to be tolerated anywhere in the wide world; for that is the beginning of idolatry, nay, is idolatry itself."

"I think décor says a lot about someone's social position, their taste, their sensibility, their work - and also about the aesthetic way I have chosen to tell their story."

"I've handled colour as man should behave. With trained and sensitive eyes, you can recognise this double behavior of colour. And from this you may conclude that I consider ethics and aesthetics as one."

"The story of English literature, viewed aesthetically, is one thing; the story of English writers is quite another. The price of contributing to the greatest literature the world has ever seen is often struggle and penury: art is still too often its own reward."

"All art preserves mysteries which aesthetic philosophers tackle in vain."

"I think we need the feminine qualities of leadership, which include attention to aesthetics and the environment, nurturing, affection, intuition and the qualities that make people feel safe and cared for."

"The purpose of art is expression. Of course this short sentence raises many questions. By itself it is uninformative. One should specify what art can and cannot express. One should specify what art should and should not express. These questions cannot be answered without having some notion of the nature of man. Here it is presupposed that God created man as essentially a rational being. This implies that man’s most valuable expressions are rational and intellectual. Therefore, although man can express emotion, by screaming “Ouch,” art becomes more human and valuable in proportion to its intellectual content. This does not deny that excellent technique may express triviality, evil, and insanity. It asserts, however, that what should be expressed is rational and intelligent."

"Aesthetics - heightened expressions – served to separate off special objects and performances."

"Most important of all, the film's dramatic requirements should always take precedence over the mere aesthetics of editing."

"That said, we don't approach these improvements as only a surface aesthetic. The producers and we think that these men are helped with their inner needs when they pay attention to their externals."

"To the man who loves art for its own sake...it is frequently in its least important and lowliest manifestations that the keenest pleasure is to be derived."

"No government has the right to decide on the truth of scientific principles, nor to prescribe in any way the character of the questions investigated. Neither may a government determine the aesthetic value of artistic creations, nor limit the forms of literacy or artistic expression. Nor should it pronounce on the validity of economic, historic, religious, or philosophical doctrines. Instead it has a duty to its citizens to maintain the freedom, to let those citizens contribute to the further adventure and the development of the human race."

"Let architects sing of aesthetics that bring Rich clients in hordes to their knees; Just give me a home, in a great circle dome Where stresses and strains are at ease."

"It would be foolish to suggest that government is a good custodian of aesthetic goals. But, there is no alternative to the state."

"Aesthetics is merely an undiscovered force, expressed by a yet un-devised mathematical equation."

"Aesthetic emotion puts man in a state favorable to the reception of erotic emotion. Art is the accomplice of love. Take love away and there is no longer art."

"What is the use of aesthetics if they can neither teach how to produce beauty nor how to appreciate it in good taste? It exists because it behooves rational human beings to provide reasons for their actions and assessments. Even if aesthetics are not the mathematics of beauty, they are the proof of the calculation."

"This is precisely what is decisive in Nietzsche’s conception of art, that he sees it in its essential entirety in terms of the artist; this he does consciously and in explicit opposition to that conception of art which represents it in terms of those who “enjoy” and “experience” it. That is a guiding principle of Nietzsche’s teaching on art: art must be grasped in terms of creators and producers, not recipients. Nietzsche expresses it unequivocally in the following words (WM, 811): “Our aesthetics heretofore has been a woman’s aesthetics, inasmuch as only the recipients of art have formulated their experiences of ‘what is beautiful.’ In all philosophy to date the artist is missing.” Philosophy of art means “aesthetics” for Nietzsche too — but masculine aesthetics, not feminine aesthetics. The question of art is the question of the artist as the productive, creative one; his experiences of what is beautiful must provide the standard."

"The great work of art is the complete banality, and the fault with most banalities is that they are not banal enough. Banality here is not infinite in its depth and consequence, but rests on a foundation of spirituality and aesthetics."

"There can be no question of selecting in any direction, but of a penetrating the whole cosmic law of rhythms, forces and material that are the real world, from the ugliest to the most beautiful, everything that has character and expression, from the crudest and most brutal to the gentlest and most delicate; everything that speaks to us in its capacity as life. From this it follows that one must know all in order to be able to express all. It is the abolition of the aesthetic principle. We are not disillusioned because we have no illusions; we have never had any. What we have and what is our strength, is our joy in life; our interest in life, in all its amoral aspects. That is also the basis of our contemporary art. We do not even know the laws of aesthetics. That old idea of selection according to the beauty-principle Beautiful — Ugly, like to ethical Noble — Sinful, is dead for us, for whom the beautiful is also ugly and everything ugly is endowed with beauty. Behind the comedy and the tragedy we find only life's dramas uniting both; not in noble heroes and false villains, but people."

"In contrast to Breton we believe that — behind the false ethical and aesthetic, indeed metaphysical understandings which are out of contact with the vital interest of "man" — we find the real, the materialistic ethics and aesthetics. One includes our needs, the other is an expression of our sensual desires. It is exactly in order to liberate the true ethics and the true aesthetics that we make use of "automatism.""

"The law of aesthetics is the same as the law for our desire… Need says: "You must eat." Aesthetics says: "You can do it in a thousand different ways." Ethics: "You need a woman." Aesthetics: "Which woman do you want?" Thus the purpose of art is first and foremost ethical than aesthetic — even when the wish becomes need. The goal changes from the general to the individual from need to wish, from ethics to aesthetics."

"This is what aesthetics, development and progress depend upon: that we go out on thin ice."

"We have defined art as the life form and aesthetic art as the life renewal: the stimulating, animating, agitating, inspiring, inspirational, fermenting, fascinating fanaticising, explosive and outrageous: the renewal of the unknown."

"If you add something to a painting, never let it be for aesthetic reasons. Only let it be for reasons of expression."

"To make the material speak to man in the name of man, this is the aim and reality of art."

"Beauty expressed by the artist cannot awaken in us an emotion which is kinetic or a sensation which is purely physical. It awakens, or ought to awaken, or induces, or ought to induce, an esthetic stasis, an ideal pity or an ideal terror, a stasis called forth, prolonged, and at last dissolved by what I call the rhythm of beauty."

"A’s papers contain a number of attempts to formulate an aesthetic philosophy of life. A single, coherent, aesthetic view of life can scarcely be carried out. B’s papers contain an ethical view of life. As I let this thought sink into my soul, it became clear to me that I might make use of it in choosing a title. The one I have selected precisely expresses this. The reader cannot lose very much because of this title, for while reading the book he may perfectly well forget the title. Then, when he has read the book, he may perhaps reflect upon the title. This will free him from all finite questions as to whether A was really convinced of his error and repented, whether B conquered, or if it perhaps ended by B going over to A’s opinion. In this respect these papers have no ending."

"People flock about the poet and say to him: do sing again; Which means, would that new sufferings tormented your soul, and: would that your lips stayed fashioned as before, for your cries would only terrify us, but your music is delightful. And the critics join them, saying: well done, thus must it be according to the laws of aesthetics. Why, to be sure, a critic resembles a poet as one pea another, the only difference being that he has no anguish in his heart and no music on his lips. Behold, therefore would I rather be a swineherd on Amager, and be understood by the swine than a poet, and misunderstood by men."

"There are certain figures in the arts who, although minor in accomplishment and equivocal in their aesthetic influence, are so completely representative of the spirit of their age...."

"My conception of phantasy, as a genuine art-form, is an extension rather than a negation of reality. Ordinary tales about a castle ghost or old-fashioned werewolf are merely so much junk. The true function of phantasy is to give the imagination a ground for limitless expansion, and to satisfy aesthetically the sincere and burning curiosity and sense of awe which a sensitive minority of mankind feel toward the alluring and provocative abysses of unplumbed space and unguessed entity which press in upon the known world from unknown infinities and in unknown relationships of time, space, matter, force, dimensionality, and consciousness. This curiosity and sense of awe, I believe, are quite basic among the sensitive minority in question; and I see no reason to think that they will decline in the future — for as you point out, the frontier of the unknown can never do more than scratch the surface of eternally unknowable infinity. But the truly sensitive will never be more than a minority, because most persons — even those of the keenest possible intellect and aesthetic ability — simply have not the psychological equipment or adjustment to feel that way. I have taken pains to sound various persons as to their capacity to feel profoundly regarding the cosmos and the disturbing and fascinating quality of the extra-terrestrial and perpetually unknown; and my results reveal a surprisingly small quota."

"A genuine work of art must mean many things; the truer its art, the more things it will mean. If my drawing, on the other hand, is so far from being a work of art that it needs THIS IS A HORSE written under it, what can it matter that neither you nor your child should know what it means? It is there not so much to convey a meaning as to wake a meaning. If it do not even wake an interest, throw it aside. A meaning may be there, but it is not for you. If, again, you do not know a horse when you see it, the name written under it will not serve you much."

"A fairytale, a sonata, a gathering storm, a limitless night, seizes you and sweeps you away: do you begin at once to wrestle with it and ask whence its power over you, whither it is carrying you? The law of each is in the mind of its composer; that law makes one man feel this way, another man feel that way. To one the sonata is a world of odour and beauty, to another of soothing only and sweetness. To one, the cloudy rendezvous is a wild dance, with a terror at its heart; to another, a majestic march of heavenly hosts, with Truth in their centre pointing their course, but as yet restraining her voice. The greatest forces lie in the region of the uncomprehended. I will go farther. The best thing you can do for your fellow, next to rousing his conscience, is — not to give him things to think about, but to wake things up that are in him; or say, to make him think things for himself. The best Nature does for us is to work in us such moods in which thoughts of high import arise. Does any aspect of Nature wake but one thought? Does she ever suggest only one definite thing? Does she make any two men in the same place at the same moment think the same thing? Is she therefore a failure, because she is not definite? Is it nothing that she rouses the something deeper than the understanding — the power that underlies thoughts? Does she not set feeling, and so thinking at work? Would it be better that she did this after one fashion and not after many fashions? Nature is mood-engendering, thought-provoking: such ought the sonata, such ought the fairytale to be."

""But a man may then imagine in your work what he pleases, what you never meant!" Not what he pleases, but what he can. If he be not a true man, he will draw evil out of the best; we need not mind how he treats any work of art! If he be a true man, he will imagine true things: what matter whether I meant them or not? They are there none the less that I cannot claim putting them there! One difference between God's work and man's is, that, while God's work cannot mean more than he meant, man's must mean more than he meant. For in everything that God has made, there is layer upon layer of ascending significance; also he expresses the same thought in higher and higher kinds of that thought: it is God's things, his embodied thoughts, which alone a man has to use, modified and adapted to his own purposes, for the expression of his thoughts; therefore he cannot help his words and figures falling into such combinations in the mind of another as he had himself not foreseen, so many are the thoughts allied to every other thought, so many are the relations involved in every figure, so many the facts hinted in every symbol. A man may well himself discover truth in what he wrote; for he was dealing all the time with things that came from thoughts beyond his own."

""But surely you would explain your idea to one who asked you?" I say again, if I cannot draw a horse, I will not write THIS IS A HORSE under what I foolishly meant for one. Any key to a work of imagination would be nearly, if not quite, as absurd. The tale is there, not to hide, but to show: if it show nothing at your window, do not open your door to it; leave it out in the cold. To ask me to explain, is to say, "Roses! Boil them, or we won't have them!" My tales may not be roses, but I will not boil them. So long as I think my dog can bark, I will not sit up to bark for him."

"If there be music in my reader, I would gladly wake it. Let fairytale of mine go for a firefly that now flashes, now is dark, but may flash again. Caught in a hand which does not love its kind, it will turn to an insignificant, ugly thing, that can neither flash nor fly. The best way with music, I imagine, is not to bring the forces of our intellect to bear upon it, but to be still and let it work on that part of us for whose it exists. We spoil countless precious things by intellectual greed. He who will be a man, and will not be a child, must — he cannot help himself — become a little man, that is, a dwarf. He will, however, need no consolation, for he is sure to think himself a very large creature indeed. If any strain of my "broken music" make a child's eyes flash, or his mother's grow for a moment dim, my labour will not have been in vain."

"The aesthetic nature is unfree because it is moved by something else and does not move according to its own will."

"For art to exist, for any sort of aesthetic activity or perception to exist, a certain physiological precondition is indispensable; intoxication. Intoxication must first have heightened the excitability of the entire machine: no art results before that happens."

"Scientific understanding is often beautiful, a profoundly aesthetic experience which gives pleasure not unlike the reading of a great poem."

"But aesthetics is not religion, and the origins of religion lie somewhere completely different. They lie anyway, these roses smell too sweet and the deep roar of the breaking waves is too splendid, to do justice to such weighty matters now."

"Design is the method of putting form and content together. Design, just as art, has multiple definitions; there is no single definition. Design can be art. Design can be aesthetics. Design is so simple, that's why it is so complicated."

"For me, acting is all about the aesthetic. I just want to keep honing my craft. Not that I'm taking myself too seriously, but every artist should consider himself Picasso. Otherwise, you're doing yourself an injustice."

"The universe was made on purpose, the circle said. In whatever galaxy you happen to find yourself, you take the circumference of a circle, divide it by its diameter, measure closely enough, and uncover a miracle — another circle, drawn kilometers downstream of the decimal point. There would be richer messages farther in. It doesn't matter what you look like, or what you're made of, or where you come from. As long as you live in this universe, and have a modest talent for mathematics, sooner or later you'll find it. It's already here. It's inside everything. You don't have to leave your planet to find it. In the fabric of space and in the nature of matter, as in a great work of art, there is, written small, the artist’s signature. Standing over humans, gods, and demons, subsuming Caretakers and Tunnel builders, there is an intelligence that antedates the universe."

"Leonardo Da Vinci combined art and science and aesthetics and engineering, that kind of unity is needed once again."

"The taste of the more recent accessions to the leisure class proper and of the middle and lower classes still requires a pecuniary beauty to supplement the aesthetic beauty, even in those objects which are primarily admired for the beauty that belongs to them as natural growths."

"In aesthetic theory it might be extremely difficult, if not quite impracticable, to draw a line between the canon of classicism, or regard for the archaic, and the canon of beauty."

"The World and Life are one. Physiological life is of course not "Life". And neither is psychological life. Life is the world. Ethics does not treat of the world. Ethics must be a condition of the world, like logic. Ethics and Aesthetics are one."

"Importance of animal aesthetics and its understanding to human aesthetics has been largely ignored, despite its significance to Darwin.... Darwin suggested the aesthetic possibilities of odors, songs, “antics”, especially ornaments of [such as] the most brilliant tints, combs and wattles, beautiful plumes, elongated feathers, top-knots and so forth."

"No art can be judged by purely aesthetic standards, although a painting or a piece of music may appear to give a purely aesthetic pleasure. Aesthetic enjoyment is an intensification of the vital response, and this response forms the basis of all value judgements. The existentialist contends that all values are connected with the problems of human existence, the stature of man, the purpose of life. These values are inherent in all works of art, in addition to their aesthetic values, and are closely connected with them."

"Wars of nations are fought to change maps. But wars of poverty are fought to map change."

"The map is not the territory, and the name is not the thing named."

"Let's not pretend that mental phenomena can be mapped on to the characteristics of billiard balls."

"There are no maps to lead us where we are going, to this new world of our own making. As the world looks back to nine decades of war, of strife, of suspicion, let us also look forward—to a new century, and a new millennium, of peace, freedom and prosperity."

"In fact, it is Shakespeare who gives us the map of the mind. It is Shakespeare who invents Freudian Psychology. Freud finds ways of translating it into supposedly analytical vocabulary."

"“It does not appear to be too difficult,” Alain agreed. “But I remember being cautioned that maps carry their own illusions, often making appear simple a journey which is actually far more difficult in practice.”"

"History is not everything, but it is a starting point. History is a clock that people use to tell their political and cultural time of day. It is a compass they use to find themselves on the map of human geography. It tells them where they are but, more importantly, what they must be."

"A face is a road map of someone's life. Without any need to amplify that or draw attention to it, there's a great deal that's communicated about who this person is and what their life experiences have been."

"This seems highly likely, especially as it has been shown that in several systems mutations affecting the same amino acid are extremely near together on the genetic map."

"We may think of maps and mapping as an objective process, but that would be an illusion. What gets mapped, and more importantly, what does not, is a product of various social, economic, and political phenomena. Quite apart from border disputes and contentious sovereignty, mapping also reflects political priorities. Creating the survey data that can be used in maps is expensive, and large-scale mapping endeavors are typically the preserve of states, whose ability to deliver that data often depends on resources that compete with other governmental priorities. This is true especially in resource-constrained settings."

"In generalizing lies the difficulty of scientific map-making, for it no longer allows the cartographer to rely merely on objective facts but requires him to interpret them subjectively. To be sure the selection of the subject matter is controlled by considerations regarding its suitability and value, but the manner in which this material is to be rendered graphically depends on personal and subjective feeling. But the latter must not predominate: the dictates of science will prevent any erratic flight of the imagination and impart to the map a fundamentally objective character in spite of all subjective impulses. It is in this respect that maps are distinguished from fine products of art. Generalized maps and, in fact, all abstract maps should, therefore, be products of art clarified by science."

"We invented a nonexistent Plan, and They not only believed it was real but convinced themselves that They had been part of it for ages, or rather They identified the fragments of their muddled mythology as moments of our Plan, moments joined in a logical, irrefutable web of analogy, semblance, suspicion. But if you invent a plan and others carry it out, it's as if the Plan exists. At that point it does exist. Hereafter, hordes of Diabolicals will swarm through the world in search of the map. We offered a map to people who were trying to overcome a deep private frustration. What frustration? Belbo's first file suggested it to me: There can be no failure if there really is a Plan. Defeated you may be, but never through any fault of your own. To bow to a cosmic will is no shame. You are not a coward; you are a martyr."

"A map is not the territory. - Alfred Korzybski"

"You fall in love with somebody who fits within what I call your 'love map,' an unconscious list of traits that you build in childhood as you grow up. And I also think that you gravitate to certain people, actually, with somewhat complementary brain systems."

"The three basic mechanisms of averaging, feedback and division of labor give us a first idea of a how a CMM [Collective Mental Map] can be developed in the most efficient way, that is, how a given number of individuals can achieve a maximum of collective problem-solving competence. A collective mental map is developed basically by superposing a number of individual mental maps. There must be sufficient diversity among these individual maps to cover an as large as possible domain, yet sufficient redundancy so that the overlap between maps is large enough to make the resulting graph fully connected, and so that each preference in the map is the superposition of a number of individual preferences that is large enough to cancel out individual fluctuations. The best way to quickly expand and improve the map and fill in gaps is to use a positive feedback that encourages individuals to use high preference paths discovered by others, yet is not so strong that it discourages the exploration of new paths."

"Now, to use the famous metaphor by Alfred Korzybski in his Science and Sanity (1933), this verbal world ought to stand in relation to the extensional world as a map does to the territory it is supposed to represent. If a child grows to adulthood with a verbal world in his head which corresponds fairly closely to the extensional world that he finds around him in his widening experience, he is in relatively small danger of being shocked or hurt by what he finds, because his verbal world has told him what, more or less, to expect. He is prepared for life. If, however, he grows up with a false map in his head [...] he will constantly be running into trouble, wasting his efforts, and acting like a fool. He will not be adjusted to the world as it is: he may, if the lack of adjustment is serious, end up in a mental hospital. (editor's link)"

"Heinz performs the magic trick of convincing us that the familiar objects of our existence can be seen to be nothing more than tokens for the behaviors of the organism that apparently create stable forms. These stabilities persist, for that organism, as an observing system. This is not to deny an underlying reality that is the source of objects, but rather to emphasize the role of process, and the role of the organism in the production of a living map, a map that is so sensitive that map and territory are conjoined."

"The map is not the territory … The only usefulness of a map depends on similarity of structure between the empirical world and the map."

"Two important characteristics of maps should be noticed. A map is not the territory it represents, but, if correct, it has a similar structure to the territory, which accounts for its usefulness."

"Man always kills the thing he loves, and so we the pioneers have killed our wilderness. Some say we had to. Be that as it may, I am glad I shall never be young without wild country to be young in. Of what avail are forty freedoms without a blank spot on the map?"

"The representational nature of maps, however, is often ignored – what we see when looking at a map is not the word, but an abstract representation that we find convenient to use in place of the world. When we build these abstract representations we are not revealing knowledge as much as are creating it."

"Understanding how maps work and why maps work (or do not work) as representations in their own right and as prompts to further representations, and what it means for a map to work, are critical issues as we embark on a visual information age."

"The fact that map is a fuzzy and radial, rather than a precisely defined, category is important because what a viewer interprets a display to be will influence her expectations about the display and how she interacts with it."

"Ideas, unlike solid structures, do not perish. They remain immortal, immaterial and everywhere, like all Divine things. Ideas are a golden, savage landscape that we wander unaware, without a map. Be careful: in the last analysis, reality may be exactly what we think it is."

"Many technologies for mapping and viewing are closely connected to the growth of surveillance in contemporary society and the power of defining who sees and who is seen (Parenti 2003, pp. 3, 9; Dodge & Perkins 2009). The use of surveillance technologies to examine the past does not exclude the present: When satellite imagery is used to search for archaeological sites and their spatial relationships to landforms, images of contemporary settlements and land use are also part of the picture. This intrusion into people’s lives takes place without consent, informed or otherwise."

"No map contains all the information about the territory it represents. The road map we get at the gasoline station may show all the roads in the state, but it will not as a rule show latitude and longitude. A physical map goes into details about the topography of a country but is indifferent to political boundaries. Furthermore, the scale of the map makes a big difference. The smaller the scale the less features will be shown."

"A fundamental value in the scientific outlook is concern with the best available map of reality. The scientist will always seek a description of events which enables him to predict most by assuming least. He thus already prefers a particular form of behavior. If moralities are systems of preferences, here is at least one point at which science cannot be said to be completely without preferences. Science prefers good maps."

"There are few results of man‟s activities that so closely parallel man's interests and intellectual capabilities as the map."

"If we then make the obvious assumption that the content of a map is appropriate to its purpose, there yet remains the equally significant evaluation of the visual methods employed to convey that content."

"Where, after all, do universal human rights begin? In small places, close to home—so close and so small that they cannot be seen on any map of the world."

"As you make your way along life's tumultuous highways, it's important to note that you should always carry a map, have plenty of fuel in the tank, and take frequent rest stops."

"You can't physically touch software. You can hold a floppy disk or CD-ROM in your hand, but the software itself is a ghost that can be moved from one object to another with little difficulty. In contrast, a road is a solid object that has a definite size and shape. You can touch the material and walk the route... Software is a codification of a huge set of behaviors: if this occurs, then that should happen, and so on. We can visualize individual behaviors, but we have great difficulty visualizing large numbers of sequential and alternative behaviors... The same things that make it hard to visualize software make it hard to draw blueprints of that software. A road plan can show the exact location, elevation, and dimensions of any part of the structure. The map corresponds to the structure, but it's not the same as the structure. Software, on the other hand, is just a codification of the behaviors that the programmers and users want to take place. The map is the same as the structure... This means that software can only be described accurately at the level of individual instructions... A map or a blueprint for a piece of software must greatly simplify the representation in order to be comprehensible. But by doing so, it becomes inaccurate and ultimately incorrect. This is an important realization: any architecture, design, or diagram we create for software is essentially inadequate. If we represent every detail, then we're merely duplicating the software in another form, and we're wasting our time and effort."

"There's no road map on how to raise a family: it's always an enormous negotiation."

"Pierre Bourdieu, a French sociologist, observed that elites in a society typically maintain their power not simply by controlling the means of production (ie money), but by dominating the cultural discourse too (ie a society’s intellectual map). And what is most important in relation to that cognitive map is not what is overtly stated and discussed – but what is left unstated, or ignored."

"Believable fairy-stories must be intensely practical. You must have a map, no matter how rough. Otherwise you wander all over the place. In The Lord of the Rings I never made anyone go farther than he could on a given day"

"Israel, as the Jewish state, must disappear from the map. The so called peace-path is not peace and it is not a substitute for jihad and resistance."

"In other words, all of my books are lies. They are simply maps of a territory, shadows of a reality, gray symbols dragging their bellies across the dead page, suffocated signs full of muffled sound and faded glory, signifying absolutely nothing. And it is the nothing, the Mystery, the Emptiness alone that needs to be realized: not known but felt, not thought but breathed, not an object but an atmosphere, not a lesson but a life."

"I compare a lot of life to looking at a map through a straw. The less ability you have to see life in a humorous way, the smaller the straw is that you're looking at the map of life. You're not looking at the whole picture. You can't see the whole topography without it, and it can help you to make better choices."

"What often happens if you study this integral map is that it begins to make room in your psyche, in your being, in your soul, for all the parts of you that were disowned, whether by society, your parents, your peers, whomever. An integral approach even makes room for those who did the disowning to you."

"Beloved is man, for he was created in the image of God."

"His own image; no longer a dark, gray bird, ugly and disagreeable to look at, but a graceful and beautiful swan. To be born in a duck's nest, in a farmyard, is of no consequence to a bird, if it is hatched from a swan's egg."

"Iconic presence is presence in and as a picture. The physical presence of a picture in our world refers to the symbolic presence which it depicts. Similar to body and voice – and different from writing – the picture involves a representation which produces an impression of presence. This presence occupies an absence that is filled with a picture. In the iconic presence, absence is marked. Without denying the absence of what they represent, pictures offer absence as presence. The mask is just such a picture. It creates iconic presence by placing another face on the body. In the case of a dead person it restores the missing face. In the case of an actor, the face itself turns into a mask, and thus conveys a picture. If “iconic difference”(Boehm 1994, 29ff.) is a hermeneutic concern, iconic presence is an anthropological issue. In the context of religion, pictures represent deities who have no direct presence in the physical world; these deities are not held to be absent (let alone non-existent), but in need of a picture in order to become visible. In primal religions, living bodies transform into apparitions through dance and voice. In the Christian tradition, visual artefacts behaved as living bodies that wept, worked miracles, and were carried through “their” town, as if they could walk by themselves"

"Akin to the monuments of fallen despots in more recent times, religious pictures fell victim to iconoclasms directed against false or misused images (i.e. idols). In Judaism and Islam, the ban on images pertained only to their religious use and was directed against the visual practices of other populations; in Judaism against an older pictorial tradition (Uehlinger 2003) and in Islam against the use of images in Christian churches (Fowden 2014). In the context of Christianity the use of images was central to the project of becoming a world religion and of eschewing its Jewish legacy. The “true” portrait of Christ, a late phenomenon after the Council of Chalcedon (451), possessed a special evidence that was appropriated by competing theological schools in divergent ways. Pictures were then upgraded as originals. Iconic presence began to compete with the word in textual revelation. Already the notion of the Mother of God (Theotokos) at the Council of Ephesus (431) enhanced the doctrine of the two natures of Christ in one human face. Islamic theology returned to the verbal revelation of God. The Qur’an has been introduced as a book which God has sent to his prophet. With the Islamic rejection of Jesus as the son of God, the visibility of God became taboo once more. Aniconism is a picture theory under reverse conditions and usually reflects a negative experience with pictures. In the Reformation, text and picture competed with one other as different religious media, in a turn again Catholic visual politics. The Counter-Reformation above all used the weapons of a re-catholicized visual politics that transformed the space of the church into a theatre of heaven. The church directed this strategy against the private reading of the bible propagated by the Reformation. In modern secular society, religious pictures lost their old credibility, which also damaged their status as works of art. So even within the same religious tradition pictures were subject to historical change."

"I believe that robotic thinking helps precision of psychological thought, and will continue to help it until psychophysiology is so far advanced that an image is nothing other than a neural event, and object constancy is obviously just something that happens in the brain."

"A picture is a poem without words."

"Even when our death is imminent, we carry the image of ourselves moving forward, alive, into the future."

"While the film Life of Christ was rolling past before my eyes I was mentally visualizing the gods, Shri Krishna, Shri Ramachandra their Gokul and Ayodhya.. I was gripped by a strange spell. I bought another ticket and saw the film again. This time I felt my imagination taking shape in the screen. Could this really happen? Could we the sons of India, ever be able to see Indian images on the screen. The whole night passed in this mental agony."

"Thou shalt not make unto thee any graven image (Hebrew פסל) or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth."

"The young watch television twenty-four hours a day, they don't read and they rarely listen. This incessant bombardment of images has developed a hypertrophied eye condition that's turning them into a race of mutants."

"In our Sunday news. Without morning coffee. On the bus, in the airport, at the checkout line Sharing our day off from work, from school, illicit and delicious with us under the quilt. Or domestic company, our of the corner of the eye as we fold the laundry in front of the television. It may be a 5 A.M. addiction to the glittering promises of the infomercial: the latest in fat-dissolving pills, miracle hair restoration, make-up secrets of the stars. Or a glancing relationship while waiting at the dentist, trying to distract from the impending root canal. Or a luscious, shiny smile, a deliberate splurge, a can’t-wait-to-get-home-with-you devotion. A teen magazine: tips on how to dress, how to wear your hair, how to make him want you. A movie seen at the theater, still large and magical in the dark. The endless commercials and advertisements we believe we pay no attention to. Constant, everywhere, no big deal. Like the water in the goldfish bowl, barely noticed by inhabitants. Or noticed, but dismissed: “Eye Candy”-a harmless indulgence. They go down easily, in and out, digested and forgotten. Hardly able anymore to rouse our indignation. Just pictures."

"“Frontline” asked Alexandra Shulman, editor of British “Vogue”, if the fashion industry felt any responsibility for creating the impossible to-achieve images that young girls measure themselves against. Shulman shrugged. “Not many people have actually said to me that they have looked at my magazine and decided to become anorexic.” Is it possible that Shulman actually believes it works that way?"

"Are we sophisticated enough to recognize that the images are not “real”? Does it matter?"

"What Haworth isn’t saying, too, is that the bar of what we consider “perfection” is constantly being raised-by cultural imagery, by the surgeon’s own recommendations, and by eyes that become habituated to interpreting every deviation as “defect.” Ann, a prospective patient described in the same “Vogue” article, has a well toned body of 105 pounds but is obsessed with what she sees as grotesque fat pockets on her inner thighs. “No matter how skinny I get, they get smaller but never go away,” she complains. It’s unlikely that Ann, whom Haworth considers a perfect candidate for liposuction, will stop there. “Plastic surgery sharpens your eyesight,” admits a more honest surgeon, “You get something done, suddenly you’re looking in the mirror every five minutes-at imperfections nobody else can see.” Where did Ann get the idea that any vestige of fat must be banished from her body? Most likely, it wasn’t from comparing herself to other real women, but to those computer-generated torsos-in ads for anti-cellulite cream and the like-whose hips and thighs and buttocks are smooth and seamless as gently sloping sand-dunes. No actual person has a body like that. But that doesn’t matter-because our expectations, our desires, our judgments about bodies, are becoming dictated by the digital. When was the last time you actually saw a wrinkle-or cellulite-or a drooping jowl-or a pucker or a pocket-in a magazine or video image? Ten years ago Harper’s magazine printed the invoice Esquire had received for retouching a cover picture of Michelle Pfeiffer. The picture was accompanied by copy that read: ”What Michelle Pfeiffer needs … is absolutely nothing.” What Pfeiffer’s picture alone needed to appear on that cover was actually $1,525 worth of chin trimming, complexion cleansing, neck softening, line removal, and other assorted touches."

"Now, in 2003, virtually every celebrity image you see-in the magazines, in the videos, and sometimes even in the movies-has been digitally modified. Virtually every image. Let that sink in. Don’t just let your mind passively receive it. Confront its implications. This is not just a matter of deception-boring old stuff, which ads have traded in from their beginnings. This is perceptual pedagogy, How to Interpret Your Body 101. These images are teaching us how to see. Filtered, smoothed, polished, softened, sharpened, re-arranged. And passing. Digital creations, visual cyborgs, teaching us what to expect from flesh and blood. Training our perception in what's a defect and what is normal. Are we sophisticated enough to know the images are not “real”? Does it matter? There are no disclaimers on the ads: “Warning: This body is generated by a computer. Don’t expect your thighs to look this way.” Would it matter to Ann if there were? Who cares about reality when beauty, love, acceptance beckon? Does sophistication have anything to do with it?"

"Until recently, most clinicians were not receptive to the arguments of feminists like Susie Ohrbach (and later, myself) that “body image disturbance syndrome,” binge/purge cycling, bulimic thinking,” and all the rest needed to be understood as much more culturally normative than generally recognized. They wanted to draw a sharp dividing line between pathology and normality-a line that can be very blurry when it comes to eating and body-image problems in this culture. And while they acknowledged that images “play a role,” they clung to the notion that only girls with a “predisposing vulnerability” get into trouble. Trained in a medical model which seeks the abuse or disorder in individual and family pathology, they hadn’t yet understood just how powerful, ubiquitous, and invasive the demands of culture are on our bodies and souls."

"One of the hardest challenges I faced, in presenting these ideas at conferences and public lectures, was getting medical professionals and academics to take cultural imagery seriously. Most clinicians, unaccustomated to viewing images as anything other than “mere fashion,” saw cultural interpretation as somehow minimizing the seriousness of eating disorders. I insisted-an argument I laid out explicitly in a later book, ‘Twilight Zones”-that images of slenderness are never “just pictures,” as the fashion magazines continually maintain (disingenuously) in their own defense. Not only are the artfully arranged bodies in the ads and videos and fashion spreads powerful lessons in how to see (and evaluate) bodies, but also they offer fantasies of safety, self-containment, acceptance, immunity from pain and hurt. They speak to young people not just about how to be beautiful but about how to become what the dominant culture admires, how to be cool, how to “get it together.” To girls who have been abused they may speak of transcendence or armoring or too-vulnerable female flesh. For racial and ethnic groups whose bodies have been marked as foreign, healthy, and primitive, or considered unattractive by Anglo-Saxon norms, they may cast the lure of assimilation, of becoming (metaphorically speaking) “white.”"

"Still, progressive forces are not entirely asleep in the empire of images. I think of YM teen magazine, for example. After conducting a survey which revealed that 86 percent of its young readers were dissatisfied with the way their bodies looked, YM openly declared war on eating disorders and body-image problems, instituting an editorial policy against the publishing of diet pieces and deliberately seeking out full-size modes-without “marking” them as such-for all its fashion spreads.(27) I like to think this resistance to the hegemony of the fat-free body may have something to do with the fact that the editors are young enough to have studied feminism and cultural studies while they got their B.A.’s in English and journalism. It’s easy, too, to be cynical. Today’s fashionable diversity is brought to us, after all, by the same people who brought us the hegemony of the blue-eyed blonde and who’ve made wrinkles and cellulite into diseases. It’s easy to dismiss fashion’s current love affair with full lips and biracial children as ethnic chic, fetishes of the month. To see it all as a shameless attempt to exploit ethnic niches and white beauty-tourism. Having a child, however, has given me another perspective, as I try to imagine how it looks through her eyes. Cassie knows nothing about the motives of the people who’ve produced the images. At her age, she can only take them at face value. And at face value, they present a world which includes her, celebrates her, as the world that I grew up in did not include and celebrate me. For all my and cynicism and frustration with our empire of images, I cannot help but be grateful for this."

"On good days, I feel heartened by what is happening in the teen magazines and in the Lane Bryant and “Just My Size” ads. Perhaps advertisers are discovering that making people feel bad about themselves, then offering products which promise to make it all better, is not the only way to make a buck. As racial representations have shown, diversity is marketable. Perhaps, as Lane Bryant and others are hoping, encouraging people to feel okay about their bodies can sell products too. Sometimes, surveying the plastic, digitalized world of bodies that are the norm now, I am convinced that our present slate of enchantment is just a moment away from revulsion, or perhaps simply boredom. I see twenty-something woman dancing at a local outdoor swing party, her tummy softly protruding over the thick leather belt of her low-rider jeans. Not taut, not toned, not artfully camoflauged like some unsightly deformity, but proudly, sensuously displayed, reminding me of Madonna in the days before she became the sinewy dominatrix. It is possible that we are beginning to rebel against the manufactured look of celebrity bodies, beginning to be repelled by their armored “perfection”? These hopeful moments, I have to admit, are fleeting. Usually, I feel horrified-and afraid for my daughter. I am sharply aware that expressing this horror openly nowadays is to run the risk of being thought a preachy prude, relic of an outmoded feminism. At talks to young audiences, I try to lighten my touch, celebrate the positive, make sure that my criticisms of our culture are not confused with being anti-beauty, anti-fitness, or anti-sex. But I also know that when parents and teachers become fully one with the culture, children are abandoned to it. I don’t tell them to love their bodies or turn off the television-useless admonitions today, and one I cannot obey myself. But I do try to provide disruption, if only temporary, of their everyday immersion in the culture. For just an hour or so, I won’t let it pass itself off simply as “normalcy.”"

"The lights go down, the slides go up. Much bigger than they appear in the magazines, but also, oddly brought down to size. For just a moment we confront how bizarre, how impossible, how contradictory the images are. We laugh together over Oprah’s head digitally grafted to another woman’s body, at the ad for breast implants in which the boobs stick straight up into the air. We gasp together as the before and after photos of Jennifer Lopez are placed side by side. We cheer for Marion Jones’s shoulders, boo the fact that WNBA Barbie is just the same old Barbie, but with a basketball in her hand. For just a moment, we are in charge of the impact the faked images of “perfect" bodies have on us. We look at them together and share-just for a moment-outrage."

"Susceptibility to “images” can still be conceptualized in terms of a passive subject and a mechanical process. To acknowledge, however, that meaning is continually being produced at all levels-by the culture, by the subject, by the clinician as well-and that in a fundamental sense there “is” no body that exists neutrally, outside this process of making meaning, no body that passively awaits the objective deciphering of trained experts, is to question the presuppositions on which much of modern science is built and around which our highly specialized, professionalized, and compartmentalized culture revolves. Or, to put this another way: it is to suggest that the study of the disordered body is as much the proper province of cultural critics in every field and of nonspecialists, ordinary but critically questioning citizens, as it is o the “experts.” This audacious challenge is the legacy of the feminist reconceptualization of eating disorders."

"Then God said, 'Let us make man in our image, in our likeness, and let them rule over the fish of the sea and the birds of the air, over the livestock, … So God created man in his own image, in the image of God he created him; male and female he created them."

"Whoso sheddeth man's blood, by man shall his blood be shed: for in the image of God made he man."

"Behavior is a mirror in which everyone displays his own image."

"It's funny how your relationship with your own looks changes when you go weeks without seeing yourself. None of us really knows what we look like after all. In that nanosecond it takes for a mirror to give our faces back to us our mind has already done all sorts of perverse rearranging."

"One picture in ten thousand, perhaps, ought to live in the applause of mankind, from generation to generation until the colors fade and blacken out of sight or the canvas rot entirely away."

"Like the ancient snake that bites its own tail, seeing a circle in a dream can suggest the things in your life that are sacred and remain unchanged, even while you travel through metamorphosis. As an image of returning to the beginning, it can suggest that a cycle is completing so that a new one will soon emerge."

"Memory offers up its gifts only when jogged by something in the present. It isn't a storehouse of fixed images and words, but a dynamic associative network in the brain that is never quiet and is subject to revision each time we retrieve an old picture or old words."

"Can any one deny that the old Israelites conceived Jahveh not only in the image of a man, but in that of a changeable, irritable, and, occasionally, violent man?"

"Images are books for the illiterate and silent heralds of the honor of the saints, teaching those who see with a soundless voice and sanctifying the sight."

"Images are much more available now than they were in the 1970s. It's very hard to convey that. Now, people can see what they like on their mobile phone."

"An empty canvas is a living wonder -- far lovelier than certain pictures."

"Who will believe us when we say that we do not love these stuffed dummies—carved or painted images—when our deeds convict us? God hates and despises images, as I shall show. He considers them an abomination and says that all human beings are in his eyes as the things they love. Images are an abomination; it follows therefore that we too shall become abominable, if we love them."

"It cannot therefore be true that images are the textbooks of laypersons. For they are unable to learn their salvation from them. ... How can you save lay persons when you ascribe to images the power which God gave to his word alone?"

"If you were to really hate and dislike a picture with all your heart, so that you could not bear to see or hear of it, how would you like it if someone insisted on getting to know and honor you through such a hated, horrible book? ... And God says that he does not like any image which we make, and ... that he hates and despises all who love images."

"God desires to indwell in my whole and total heart and cannot in any way tolerate my having an image in my mind's eye."

"It was a beautiful embodied thought, A dream of the fine painter, one of those That pass by moonlight o'er the soul, and flit 'Mid the dim shades of twilight, when the eye Grows tearful with its ecstasy."

"When the crucified Jesus is called the 'image of the invisible God', the meaning is that this is God, and God is like this."

"The picture that approaches sculpture nearest Is the best picture."

"Magic and art tend to share a lot of the same language. They both talk about evocation, invocation, and conjuring. If you’re trying to conjure a character, then maybe you should treat that with the respect that you would if you were trying to conjure a demon. Because if an image of a god is a god, then in some sense the image of a demon is a demon. I’m thinking of people like Malcolm Lowry, the exquisite author of Under the Volcano. There are kabbalistic demons that are lurking all the way through Under the Volcano, and I assume they were probably similar forces to the ones that eventually overwhelmed Lowry’s life, such as the drinking and the madness. When I hear alcoholics talk about having their demons, I think that they’re probably absolutely literally correct."

"Um Habiba and Um Salama mentioned about a church they had seen in Ethiopia in which there were pictures. They told the Prophet about it, on which he said, "If any religious man dies amongst those people they would build a place of worship at his grave and make these pictures in it. They will be the worst creature in the sight of Allah on the Day of Resurrection."

"Man makes god in his own image."

"My goal was to be different, strong; to sculpt my own body to reinvent the self. It's all about being different and creating a clash with society because of that. I tried to use surgery not to better myself or become a younger version of myself, but to work on the concept of image and surgery the other way around. I was the first artist to do it."

"I am not sure I can change such a thing, but I can produce images that are different from those we find in comics, video games, magazines and TV shows. There are other ways to think about one's body and one's beauty. If you were to describe me without anyone being able to see me, they would think I am a monster, that I am not fuckable. But if they see me, that could perhaps change."

"In the old days pictures went forward toward completion by stages. Every day brought something new. A picture used to be a sum of additions. In my case a picture is a sum of destructions. I do a picture — then I destroy it. In the end though, nothing is lost: the red I took away from one place turns up somewhere else."

"I think a picture is more like the real world when it is made out of the real world."

"We are frequently faced with the necessity of looking for the picture required for the visualization of an object, not in the perception of this particular object, but in a different perceptual image. ...we can assert the discrepancy between the perceived picture and the objective state. This discrepancy... proves absolutely nothing against the fact that all visualizations are merely sense qualities of the perceptual space. ...If the parallelism is ...to be visualized, we must supplement our assertion by the description of certain qualities with which we are familiar from perceptual space."

"Claiming to be wise, they became fools, and exchanged the glory of the immortal God for images (εἰκόνος) resembling mortal man."

"Like the Great Communicator who charms through lies, the medical authority figure- paternalistic and technocratic at the same time - delivers these messages less by his words than by the power of his image and his persona."

"As with any visual image, The Silent Scream relies on our predisposition to "see" what it wants us to "see" because of a range of influences that come out of the particular culture and history in which we live. The aura of medical authority, the allure of technology, the cumulative impact of a decade of fetal images- on billboards, in shopping center malls, in science fiction blockbusters like 2001: A Space Odyssey-all rescue the film from utter absurdity; they make it credible. "The fetal form" itself has, within the larger culture, acquired a symbolic import that condenses within it a series of losses-from sexual innocence to compliant women to American imperial might. It is not the image of a baby at all but of a tiny man, a homunculus."

"It is not only anti abortionists who respond to fetal images however. The "public" presentation of the fetus has become ubiquitous; its disembodied form, now propped up by medical authority and technological rationality, permeates mass culture. We are all, on some level, susceptible to its coded meanings. Victor Burgin points out that it does no good to protest the "falseness" of such images as against "reality," because "reality"-that is, how we experience the world, both "public" and "private"-" is itself constituted through the agency of representations." This suggests that women's ways of seeing ultrasound images of fetuses, even their own, may be affected by the cumulative array of "public" representations, from Life Magazine to The Silent Scream. And it possibly means that some of them will be intimidated from getting abortions-although as yet we have little empirical information to verify this. When young women seeking abortions are coerced or manipulated into seeing pictures of fetuses, their own or others, it is the "public fetus" as moral abstraction they are being made to view. But the reception and meanings of fetal images also derive from the particular circumstances of the woman as viewer, and these circumstances may not fit neatly within a model of women as victims of reproductive technologies. Above all, the meanings of fetal images will differ depending on whether a woman wishes to be pregnant or not. With regard to wanted pregnancies, women with very diverse political values may respond positively to images that present their fetus as if detached, their own body as if absent from the scene. The reasons are a complex weave of socioeconomic position, gender psychology, and biology."

"Attachment of pregnant women to their fetuses at earlier stages in pregnancy becomes an issue, not because it is cemented through "sight" rather than "feel," but when and if it is used to obstruct or harass an abortion decision. In fact, there is no reason any woman's abortion decision should be tortured in this way, because there is no medical rationale for requiring her to view an image of her fetus. Responsible abortion clinics are doing ultrasound imaging in selected cases-only to determine fetal size or placement, where the date of the woman's last menstrual period is unknown, the pregnancy is beyond the first trimester, or there is a history of problems; or to diagnose an ectopic pregnancy. But in such cases the woman herself does not see the image, because the monitor is placed outside her range of vision and clinic protocols refrain from showing her the picture unless she specifically requests it. In the current historical context, to consciously limit the uses of fetal images in abortion clinics is to take a political stance, to resist the message of The Silent Scream. This reminds us that the politics of reproductive technologies are constructed contextually, out of who uses them, how, and for what purposes."

"Images by themselves lack "objective" meanings; meanings come from the interlocking fields of context, communication, application, and reception. If we removed from the ultrasound image of The Silent Scream its title, its text, its sound narrative, Dr. Nathanson, the media and distribution networks, and the whole antiabortion political climate, what would remain? But, of course, the question is absurd because no image dangles in a cultural void, just as no fetus floats in a space capsule. The problem clearly becomes, then, how do we change the contexts, media, and consciousnesses through which fetal images are defined?"

"Ancient portraits are symbolic images without any immediate relation to the individuals represented; they are not portraits as we understand them. ...It is remarkable that philologists who are capable of carrying accuracy to the extremes in the case of words are as credulous as babies when it comes to "images," and yet an image is so full of information that ten thousands words would not add up to it."

"When you wish to see whether the general effect of your picture corresponds with that of the object represented after nature, take a mirror and set it so that it reflects the actual thing, and then compare the reflection with your picture, and consider carefully whether the subject of the two images is in conformity with both, studying especially the mirror. The mirror ought to be taken as a guide... you see the picture made upon one plane showing things which appear in relief, and the mirror upon one plane does the same. The picture is on one single surface, and the mirror is the same. ...if you but know well how to compose your picture it will also seem a natural thing seen in a great mirror."

"Imagery played a central role in theories of the mind for centuries. For example, the British Associationists conceptualizes thought itself as sequences of images. And, Wilhelm Wundt, the founder of scientific psychology, emphasized the analysis of images. However, the central role of imagery in theories of mental activity was undermined when Kulpe, in 1904, pointed out that some thoughts are not accompanied by imagery (e.g., one is not aware of the processes that allow one to decide which of two objects is heavier)."

"2.1 We picture facts to ourselves. 2.11 A picture presents a situation in logical space, the existence and non-existence of states of affairs. 2.12 A picture is a model of reality. 2.13 In a picture objects have the elements of the picture corresponding to them. 2.131 In a picture the elements of the picture are the representatives of objects. 2.14 What constitutes a picture is that its elements are related to one another in a determinate way. 2.141 A picture is a fact."

"[T]he true vanishing point of every picture is the death image, the Todesbild. The tomb effigy, the memorial portrait, and the death mask approach a condition of perfect substitutability for the irrevocably absent object, the once-living body. The dead person exchanges his body for an image; that image holds a place for him among the living (p. 29 and chap. 6). Belting describes this exchange, enacted in ancient cults of the dead, as the archetype of the image- body-medium triangle (p. 29). The photograph, the performance, and the statue, in turn, point directly toward that ideal exchange-ability. Essentially, every image wants to be a home for a lost soul. "Without the connection to death," Belting explicitly says, "those images that merely simulate the world of life quickly fall into a pointless circularity and the proverbial accusation of deceptiveness...." (p. 190). Death guarantees the image. Without that strong link to the irreversibly absent yet sharply desired object, the image would be a mere work of art."

"The Ethiops say that their gods are flat-nosed and black, While the Thracians say that theirs have blue eyes and red hair. Yet if cattle or horses or lions had hands and could draw, And could sculpt like men, then the horses would draw their gods Like horses, and cattle like cattle; and each they would shape Bodies of gods in the likeness, each kind, of their own."

"Image and appearance tell you little. The inside is bigger than the outside when you have the eyes to see."

"I am an anarchist in politics and an impressionist in art as well as a symbolist in literature. Not that I understand what these terms mean, but I take them to be all merely synonyms of pessimist."

"In literature and in art, alike, this gloomy fashion of regarding Death has been characteristic of Christianity. Death has been painted as a skeleton grasping a scythe, a grinning skull, a threatening figure with terrible face and uplifted dart, a bony scarecrow shaking an hourglass - all that could alarm and repel has been gathered round this rightly-named King of Terrors."

"Comment voyez-vous cet arbre? Il est bien vert? Mettez donc du vert, le plus beau vert de votre palette; — et cette ombre, plutôt bleue? Ne craignez pas la peindre aussi bleue que possible."

"Il est des parfums frais comme des chairs d'enfants, Doux comme les hautbois, verts comme les prairies, – Et d'autres, corrompus, riches et triomphants, Ayant l'expansion des choses infinies, Comme l'ambre, le musc, le benjoin et l'encens, Qui chantent les transports de l'esprit et des sens."

"Take the birds which you'll have noticed in so many of my recent paintings. I never thought them up, they just materialized of their own accord; they were born on the canvas... it is absurd to read any sort of symbolic significance into them."

"If a symbol should be discovered in a painting of mine, it was not my intention. It is a result I did not seek. It is something that may be found afterwards, and which can be interpreted according to taste."

"Human beings communicate through art with symbols that transcend the boundaries of time and culture."

"The history of art cannot be properly understood without some reference to the history of science. In both we are studying the symbols by which man affirms his mental scheme, and these symbols, be they pictorial or mathematical, a fable or formula, will reflect the same changes."

"Superficially insignificant or accidental looking detail [in art] may well carry the most important unconscious symbolism."

"Such compositions, line and color ideas, such wonders come into my mind and have stuck! – They will this time be dismissed only by being painted out."

"When you are going to paint a bamboo, you must first realize the thing completely in your mind. Then grasp the brush, fix your attention so that you see clearly what you wish to paint; start quickly, move the brush, follow straight what you see before you, as the buzzard swoops down when the hare jumps out. If you hesitate one moment, it is gone."

"The artists of Asia have spiritually realized form, rather than aesthetically invented or imitated form, and from them I have learned that art and nature are mind's Environment within which we can detect the essence of man's Being and Purpose, and from which we can draw clues to guide our journey from partial consciousness to full consciousness."

"I paint to evoke a changing language of symbols, a language with which to remark upon the qualities of our mysterious capacities which direct us toward ultimate reality."

"Ainsi, dans cet art, les tableaux de la nature, les actions des humains, tous les phénomènes concrets ne sauraient se manifester eux-mêmes ; ce sont là des apparences sensibles destinées à représenter leurs affinités ésotériques avec des Idées primordiales."

"When seen as a whole, art derives from a person’s desire to communicate himself to another. I do not believe in an art which is not forced into existence by a human being’s desire to open his heart. All art, literature, and music must be born in your heart’s blood. Art is your heart’s blood."

"The wonders of the Grand Canyon cannot be adequately represented in symbols of speech, nor by speech itself. The resources of the graphic art are taxed beyond their powers in attempting to portray its features. Language and illustration combined must fail."

"A noir, E blanc, I rouge, U vert, O bleu : voyelles. . ."

"Between the image of the Imagist and the 'symbol' of the Symbolists there is a difference only of precision'"

"Minimal art, also called ABC art, is the culmination of reductionist tendencies in Modern art that first surfaced in the 1913 composition by the Russian painter Kasimir Malevich of a black square on a white ground."

"Art has nothing to do with taste, art is not there to be "tasted". Yet a certain mayor believes that art exists to be "judged", and the most modern art to be "judged from a business point of view"."

"Were art to redeem man, it could do so only by saving him from the seriousness of life and restoring him to an unexpected boyishness. The symbol of art is seen again in the magic flute of the Great God Pan which makes the young goats frisk at the edge of the grove. All modern art begins to appear comprehensible and in a way great when it is interpreted as an attempt to instill youthfulness into an ancient world."

"By now it has become a formula to attach new ideas on the grounds of extremism and unintelligibility. Every phase of modern art has in turn been attacked on these grounds, until the new phase became acceptable. Although the present attacks are focused on those who emphasize the subjective side of abstract painting, the threat to other sections of the modern painting is implicit. The attacks are always focused on those who are considered the black sheep, for reasons of non-conformity. They are conspicuous, because they are different, and therefore may be easy targets. ( his comment on the attacks on artistic freedom in 1948)"

"Color is primarily Quality. Secondly, it is also Weight, for it has not only color value but also brilliance. Thirdly, it is Measure, for besides Quality and Weight, it has its limits, its area, and its extent, all of which may be measured.Tone value is primarily Weight, but in its extent and its boundaries, it is also Measure.Line, however, is solely Measure."

"I like silent pictures and I always have. They are often so much more beautiful than sound pictures are. Perhaps they had to be. At any rate I wanted to restore some of this beauty. I thought of it, I remember in this way: one of techniques of modern art is simplification, and that I must therefore simplify this film."

"Do you realize that people don't know how to read Kafka simply because they want to decipher him? Instead of letting themselves be carried away by his unequaled imagination, they look for allegories — and come up with nothing but clichés: life is absurd (or it is not absurd), God is beyond reach (or within reach), etc. You can understand nothing about art, particularly modern art, if you do not understand that imagination is a value in itself."

"Art before the modern period is as much art as Neanderthal man is man'. It is for this reason that around the same time I replaced the term "work" for art proposition. Because a conceptual work of art in the traditional sense, is a contradiction in terms."

"In ceasing to subordinate creative power to any supreme value, modern art has brought home to us the presence of that creative power throughout the whole history of art."

"Most painting in the European tradition was painting the mask. Modern art rejected all that. Our subject matter was the person behind the mask."

"The modern artist is living in a mechanical age and we have a mechanical means of representing objects in nature such as the camera and photograph. The modern artist, it seems to me, is working and expressing an inner world – in other words – expressing the energy, the motion and the other inner forces... the modern artist is working with space and time, and expressing his feelings rather than illustrating."

"Modern art to me is nothing more than the expression of contemporary aims of the age we’re living in... All cultures have had means and techniques of expressing their immediate aims – the Chinese, the Renaissance, all cultures. The thing that interests me is that today painters do not have to go to a subject matter outside of themselves. Most modern painters work from a different source, they work from within."

"Each age finds its own technique … I mean, the strangeness will wear off and I think we will discover the deeper meanings in modern art."

"The skills of the modern artist are the opposite of those of the craftsman: instead of acquiring techniques for producing classes of objects, the artist today perfects the means suited to his particular work."

"Impressionism is at the root of all modern art, because it was the first movement that managed to free itself from preconceived ideas, and because it changed not only the way life was depicted but the way life was seen."

"Art is born and takes hold wherever there is a timeless and insatiable longing for the spiritual, for the ideal: that longing which draws people to art. Modern art has taken the wrong turn in abandoning the search for the meaning of existence in order to affirm the value of the individual for his own sake."

"Play Stupid Games, Win Stupid Prizes"

"When the cat's away, the mice will play."

"The purpose of creation, is lila. The concept of lila escapes all the traditional difficulties in assigning purpose to the creator. Lila is a purpose-less purpose, a natural outflow, a spontaneous self-manifestation of the Divine. The concept of lila, again, emphasizes the role of delight in creation. The concept of Prakriti and Maya fail to explain the bliss aspect of Divine. If the world is manifestation of the Force of Satcitananda, the deployment of its existence and consciousness, its purpose can be nothing but delight. This is the meaning of delight. Lila, the play, the child’s joy, the poet’s joy, the actor’s joy, the mechanician’s joy of the soul of things eternally young, perpetually inexhaustible, creating and recreating Himself in Himself for the sheer bliss of that self-creation, of that self-representation, Himself the play, Himself the player, Himself the playground"

"Take a look at those clowns And the tricks that they play In the circus of life Life is bitter and gay"

"If you have a rifle, hanging on the wall in the first act, it should fire in the last"

"Combinatory play seems to be the essential feature in productive thought."

"It is a happy talent to know how to play."

"Play it, Sam. Play As Time Goes By."

"Intellectual life has a certain spontaneous character and inner determination. It has also a peculiar poise of its own, which I believe is established by a balance between two basic qualities in the intellectual’s attitude toward ideas—qualities that may be designated as playfulness and piety."

"ALL WORK AND NO PLAY MAKES JACK A DULL BOY."

"Blessed are the people whose leaders can look destiny in the eye without flinching but also without attempting to play God."

"But how can the characters in a play guess the plot? We are not the playwright, we are not the producer, we are not even the audience. We are on the stage. To play well the scenes in which we are "on" concerns us much more than to guess about the scenes that follow it."

"Wonder Woman: Poor child! You've lived a terrible life- gloomy. Tragic. You're fun starved! You must learn to play!"

"Machines do not have feelings... This is not to say that no inanimate objects have feelings -- toys are loaded with feelings, for instance, and only a monster would break the heart of a rag doll."

"Yesterday, love was such an easy game to play Now I need a place to hide away. Oh, I believe in yesterday."

"By whatever means it is accomplished, the prime business of a play is to arouse the passions of its audience so that by the route of passion may be opened up new relationships between a man and men, and between men and Man. Drama is akin to the other inventions of man in that it ought to help us to know more, and not merely to spend our feelings."

"The structure of a play is always the story of how the birds came home to roost."

"A play is made by sensing how the forces in life simulate ignorance — you set free the concealed irony, the deadly joke."

"In my music, I'm trying to play the truth of what I am. The reason it's difficult is because I'm changing all the time."

"Look around you. Everywhere. They are there. In every home - lurking in dark corners … small, bi-pedal entities with almost human brains play their games in which adults are the pawns. They play and wait for the time when they will take over the world!"

"Lila, as a concept denoting play, is applied to much of Indian thought, both spiritual and secular."

"Play! Invent the world! Invent reality!"

"Be a clown, be a clown, All the world loves a clown. Act the fool, play the calf, And you'll always have the last laugh."

"I like desires like children and their plays that tease me now and then into knowing life."

"Lila (pronounced Leela) is the play of creation. To awakened consciousness, the entire universe. With all its joys and sorrows, pleasures and pains, appears as a divine game, sport, or drama. It is a play in which the one Consciousness performs all the roles. Alluding to this lila of the Divine Mother the physical universe is a “mansion of mirth.”"

"حَدَّثَنَا مُحَمَّدٌ، أَخْبَرَنَا أَبُو مُعَاوِيَةَ، حَدَّثَنَا هِشَامٌ، عَنْ أَبِيهِ، عَنْ عَائِشَةَ ـ رضى الله عنها ـ قَالَتْ كُنْتُ أَلْعَبُ بِالْبَنَاتِ عِنْدَ النَّبِيِّ صلى الله عليه وسلم وَكَانَ لِي صَوَاحِبُ يَلْعَبْنَ مَعِي، فَكَانَ رَسُولُ اللَّهِ صلى الله عليه وسلم إِذَا دَخَلَ يَتَقَمَّعْنَ مِنْهُ، فَيُسَرِّبُهُنَّ إِلَىَّ فَيَلْعَبْنَ مَعِي‏.‏"

"The gift of Chopin is [the expression of] the deepest and fullest feelings and emotions that have ever existed. He made a single instrument speak a language of infinity. He could often sum up, in ten lines that a child could play, poems of a boundless exaltation, dramas of unequalled power."

"Man only plays when in the full meaning of the word he is a man, and he is only completely a man when he plays."

"Deute den lieblichen Schein und mache Ernst aus dem Spiel, so wirst du das Centrum fassen und die verehrte Kunst in höherm Lichte wieder finden."

"If you ask me to play myself, I will not know what to do. I do not know who or what I am."

"All the world's a stage, And all the men and women merely players: They have their exits and their entrances; And one man in his time plays many parts."

"The play's the thing, Wherein I'll catch the conscience of the king."

"Oh, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night Like a rich jewel in an Ethiope’s ear, Beauty too rich for use, for earth too dear. So shows a snowy dove trooping with crows As yonder lady o'er her fellows shows. The measure done, I’ll watch her place of stand, And, touching hers, make blessèd my rude hand. Did my heart love till now? Forswear it, sight! For I ne'er saw true beauty till this night."

"Kirk: The more complex the mind, the greater the need for the simplicity of play."

"Work consists of whatever a body is OBLIGED to do, and...Play consists of whatever a body is not obliged to do."

"It is interesting that Hindus, when they speak of the creation of the universe do not call it the work of God, they call it the play of God, the Vishnu lila, lila meaning play. And they look upon the whole manifestation of all the universes as a play, as a sport, as a kind of dance — lila perhaps being somewhat related to our word lilt” p\"

"Perhaps one never seems so much at one's ease as when one has to play a part."

"What is the use of a book", thought Alice, "without pictures or conversations?"

"Why did you make the Lady of Shalott, in the illustration, with her hair wildly tossed about as if by tornado? ... I didn’t say that her hair was blown about like that ... Why did you make the web wind round and round her like the threads of a cocoon? ... I did not say it floated round and round her."

"A good illustrator may draw from models but knows how to forget them."

"To illustrate any text is also to interpret it."

"Beatrix Potter portrayed the world from a mouse’s- or rabbit’s- or small child’s-eye view. The vantage point in her exquisite watercolors varies from a few inches to a few feet from the ground, like that of a toddler."

"Can you imagine illustration in modern novels? ... For instance, in Norman Mailer? They would have to be abstracts. Don’t you think? Sort of barbed wire and blotches?"

"Illustration is a very old form, far older than the novel, balanced somewhere in between painting and literature but belonging to neither."

"I cannot imagine how it must feel for an author to see someone else’s interpretation of their own inner vision. I am constantly amazed at how appreciative most of them manage to be."

"It's called the American dream because you have to be asleep to believe it."

"Once there lived a village of creatures along the bottom of a great crystal river... The current of the river swept silently over them all — young and old, rich and poor, good and evil, the current going its own way, knowing only its own crystal self. ... Each creature in its own manner clung tightly to the twigs and rocks of the river bottom, for clinging was their way of life, and resisting the current what each had learned from birth. ... But one creature said at last, 'I am tired of clinging. Though I cannot see it with my eyes, I trust that the current knows where it is going. I shall let go and let it take me where it will. Clinging, I shall die of boredom.'... The other creatures laughed and said, 'Fool! Let go, and that current you worship will throw you tumbled and smashed against the rocks, and you will die quicker than boredom!'... But the one heeded them not, and taking a breath did let go, and at once was tumbled and smashed... Yet in time, as the creature refused to cling again, the current lifted him free from the bottom, and he was bruised and hurt no more. ... And the creatures downstream, to whom he was a stranger, cried 'See a miracle! A creature like ourselves, yet he flies! See the Messiah come to save us all!'... And the one carried in the current said, 'I am no more messiah than you. The river delights to lift us free, if only we dare let go. Our true work is this voyage, this adventure.' ... But they cried the more, 'Savior!' all the while clinging to the rocks, and when they looked again he was gone, and they were left alone making legends of a Savior."

"The problem of Illusion lies in the fact that it is a soul activity, and the result of the mind aspect of all the souls in manifestation. It is the soul which is submerged in the illusion, and the soul that fails to see with clarity until such time as it has learnt to pour the light of the soul through into the mind and the brain. p.21 It is in meditation and in the technique of mind control, that the thinkers of the world will begin to rid the world of illusion. Hence the increasing interest in meditation as the weight of the world glamour is increasingly realised, and hence the vital necessity for right understanding of the way of mind control. . . . Only the intuition can dispel illusion, and hence the need for training intuitives. Hence the service you can render to this general cause by offering yourselves for this training. p. 22/3"

"Illusion is primarily of a mental quality, and was characteristic of the attitude of mind of those people who are more intellectual than emotional. They have outgrown glamour as usually understood. It is the misunderstanding of ideas and thought-forms of which they are guilty, and of misinterpretations. p. 26 Today illusion is so potent, that few people whose minds are in any way developed, but are controlled by these vast illusory thought-forms, which have their roots and draw their life from the lower personality life and desire nature of the masses of men. p.32"

"Most of us, no matter what we say, are walking in the dark, whistling in the dark. Nobody knows what is going to happen to him from one moment to the next, or how one will bear it. This is irreducible. And it's true of everybody. Now, it is true that the nature of society is to create, among its citizens, an illusion of safety; but it is also absolutely true that the safety is always necessarily an illusion. Artists are here to disturb the peace."

"¿Qué es la vida? Un frenesí. ¿Qué es la vida? Una ilusión, una sombra, una ficción, y el mayor bien es pequeño; que toda la vida es sueño, y los sueños, sueños son."

"The world desires illusion (mundus vult decipi)—either the illusion antecedent to reason, which is poetry, or the illusion ..."

"Ambition and intrigue abuse the credulity and experience of men lacking all political, economic, and civic knowledge; they adopt pure illusion as reality; they take license for liberty, treachery for patriotism, and vengeance for justice."

"That which is changeless, existent only, and beyond both mind and speech, which shines as the Truth amidst the illusion of the three worlds, is the Brahman according to its real nature. That Brahman is known in samddhi-yoga..."

"[In] 'Democratic' societies ... the state can't control behavior by force. It can to some extent, but it's much more limited in its capacity to control by force. Therefore, it has to control what you think... One of the ways you control what people think is by creating the illusion that there's a debate going on, but making sure that that debate stays within very narrow margins. Namely, you have to make sure that both sides in the debate accept certain assumptions, and those assumptions turn out to be the propaganda system. As long as everyone accepts the propaganda system, then you can have a debate."

"Modern industrial civilization has developed within a certain system of convenient myths...The question is whether privileged elite should dominate mass communication and should use this power as they tell us they must — namely to impose necessary illusions, to manipulate and deceive the stupid majority and remove them from the public arena. The question in brief, is whether democracy and freedom are values to be preserved or threats to be avoided. In this possibly terminal phase of human existence, democracy and freedom are more than values to be treasured; they may well be essential to survival."

"Walter Lippmann ... described what he called “the manufacture of consent” as “a revolution” in “the practice of democracy”... And he said this was useful and necessary because “the common interests” - the general concerns of all people - “elude” the public. The public just isn't up to dealing with them. And they have to be the domain of what he called a "specialized class" ... [Reinhold Niebuhr]'s view was that rationality belongs to the cool observer. But because of the stupidity of the average man, he follows not reason, but faith. And this naive faith requires necessary illusion, and emotionally potent oversimplifications, which are provided by the myth-maker to keep the ordinary person on course... you have to control what people think. And the standard way to do this is to resort to what in more honest days used to be called propaganda, manufacture of consent, creation of necessary illusion. Various ways of either marginalizing the public or reducing them to apathy in some fashion."

"Art has a double face, of expression and illusion, just like science has a double face: the reality of error and the phantom of truth."

"You can't live without illusions even if you must fight for them. Such as "love conquers all." It's not true, but I would like it to be so."

"...to say that the universe is an illusion (māyā) is not to say that it is unreal; it is to say, instead, that it is not what it seems to be, that it is something constantly being made. Māyā not only deceives people about the things they think they know; more basically, it limits their knowledge."

"There is no “me”. There are only these feelings - and these are bigger and deeper than any me. Identity is an illusion, a temporary state. Everyone is searching for it, but it's only a brief reflection in a very shallow pool of time."

"For those of us who believe in physics, the distinction between past, present, and future is only an illusion, however tenacious this illusion may be."

"The shedding of easy solutions, of comforting illusions may be painful, but it leaves behind it a feeling of freedom and … the absurd which do not seem in any normal sense of the words, to be noteworthy..."

"This has been the cause of a great deal of wasted time and effort, and industry, which needs young men who are healthy, tractable, unpretentious and, I would even say, full of illusions, often receives engineers who are tired out, weak in body, and less ready than one could wish to take modest jobs and work so hard that everything seems easy to them."

"We are what we are And what we are is an illusion We love how it feels Putting on heels Causing confusion."

"To help him, he can indicate the possible alternatives, with sincerity and love, without being w:Sentimentalsentimental and without illusion. The knowledge and awareness of the freeing alternatives can reawaken in an individual all his hidden energies and put him on the path to choosing respect for “life” instead of for “death”."

"Illusions can be created in multitudinous forms, and vary in effectiveness to the degree that your customer wishes to be fooled."

"It is natural to man to indulge in the illusions of hope. We are apt to shut our eyes against a painful truth, and listen to the song of that Syren, till she transforms us to beasts."

"The prophet is not diverted by illusions of past, present and future. The fixity of language determines such linear distinctions. Prophets hold a key to the lock in a language. The mechanical image remains only an image to them. This is not a mechanical universe. The linear progression of events is imposed by the observer. Cause and effect? That's not it at all. The prophet utters fateful words. You glimpse a thing "destined to occur." But the prophetic instant releases something of infinite portent and power. The universe undergoes a ghostly shift. Thus, the wise prophet conceals actuality behind shimmering labels. The uninitiated then believe the prophetic language is ambiguous. The listener distrusts the prophetic messenger. Instinct tells you how the utterance blunts the power of such words. The best prophets lead you up to the curtain and let you peer through for yourself."

"Houdini reportedly claimed that, "what the eyes see and the ears hear, the mind believes". This could have been the motto of the camouflage unit sent to the North African campaign at the height of the Second World War. In The Phantom Army of Alamein, Rick Stroud has illuminated the shadowy antics of this little-recognised outfit during the battle of El Alamein. In doing so, he has created a fascinating study of how the most unlikely characters can become heroes. Among their fold were engravers, painters, cartoonists and sculptors, and their commander, Major Geoffrey Barkas, was an Oscar-winning film director. The brief was to support the Army using a combination of concealment and embellishment created with whatever came to hand. The Surrealist Roland Penrose tutored them, his lover Lee Miller posing nude in camouflage cream and netting as inspiration. And one of the more grandiose members was the Piccadilly magician Jasper Maskelyne, a Chancer tasked with experimental developments, who fogged his own reputation as much as any desert convoy."

"With regard to nuclear weapons, the situation is far more dangerous than the last Doomsday Clock report. New weapons systems under development are much more effectively dangerous. The Biden administration, expanding upon Trump’s confrontational approach, has Chomsky at a loss for words to describe the danger at hand. Only recently, Biden met with NATO leaders and instructed them to plan on two wars, China and Russia. According to Chomsky: “This is beyond insanity.” Not only that, the group is carrying out provocative acts when diplomacy is really needed... Chomsky says: “We’re living in a world of total illusion and fantasy.... Unless this is dealt with soon, it’ll be impossible to deal with the two major issues within the time span that we have available, which is not very long.”"

"Do you see law and order? There is nothing but disorder, and instead of law there is only the illusion of security. It is an illusion because it is built on a long history of injustices: racism, criminality, and the enslavement and genocide of millions."

"From the way in which this experience is spoken of by those who have had it, it would appear to be an extremely definite and positive state of mind, coupled with a belief in the reality of its object quite as strong as any direct sensation ever gives. And yet no sensation seems to be connected with it at all... The phenomenon would seem to be due to a pure conception becoming saturated with the sort of stinging urgency which ordinarily only sensations bring."

"Commonly, the word "myth" is now used to mean an illusion or a lie, as when we speak of the rumors and myths of the engines that were supposed to run on water instead of gasoline."

"And if workers ever thought that the day would come when personal appropriation of capital would profit all by turning it into a stock of wealth to be shared by all, this illusion is vanishing like so many others."

"You don’t have anything to be jealous of. It's just a job. All the publicity, gossip, innuendo, it's an illusion. This, you and me, is what matters, because it's real."

"It is because the cosmos is meaningless that we must secure our individual illusions of values, direction, and interest by upholding the artificial streams which give us such worlds of salutary illusion. That is — since nothing means anything in itself, we must preserve the proximate and arbitrary background which makes things around us seem as if they did mean something."

"Religious suffering is, at one and the same time, the expression of real suffering and a protest against real suffering. Religion is the sigh of the oppressed creature, the heart of a heartless world, and the soul of soulless conditions. It is the opium of the people. The abolition of religion as the illusory happiness of the people is the demand for their real happiness. To call on them to give up their illusions about their condition is to call on them to give up a condition that requires illusions. The criticism of religion is, therefore, in embryo, the criticism of that vale of tears of which religion is the halo. Criticism has plucked the imaginary flowers on the chain not in order that man shall continue to bear that chain without fantasy or consolation, but so that he shall throw off the chain and pluck the living flower."

"Huey Freeman: Obi-Wan Kenobi once said: "Your eyes can deceive you, don't trust them." Seems to be getting harder distinguishing reality from the illusions that people make for us OR from the ones that we make for ourselves... I don't know, maybe that's part of the plan. To make me think I'm crazy."

"The real sky is (knowing) that samsara and nirvana are merely an illusory display."

"Today's liberals, encouraged by the demise of Marxism, have the illusion that we can finally dispense with the notion of antagonism has become widespread. This belief is fraught with danger, since it leaves us unprepared in the face of unrecognized manifestations of antagonism."

"As a magician creates a magical illusion by the force of magic, and the illusion produces another illusion, in the same way the agent is a magical illusion and the action done is the illusion created by another illusion."

"We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth."

"“Seeing an illusory object (māyā)”: Although what one apprehends is unreal, nothing more than an illusory sign. If one does not admit this much, then an illusory sign should be non-existent. What is an illusory sign? It is the result of illusion magic. Just as one with higher gnosis can magically create forms, likewise this illusory sign does actually have manifestation and shape. Being produced by illusion magic, it acts as the object of vision. That object which is taken as really existent is in fact ultimately non-existent. Therefore, this [Māyājāla] Sūtra states that it is non-existent, due to the illusory object there is a sign but not substantiality. Being able to beguile and deceive one, it is known as a “deceiver of the eye."

"Acting is illusion , as much illusion as magic is, and not so much a matter of being real."

"We trained hard...but it seemed that every time we were beginning to form into teams we would be reorganized [and] I was to learn later in life that we tend to meet any new situation by reorganizing: and what a wonderful method it can be for creating the illusion of progress while producing confusion, inefficiency and demoralization."

"Suppose, monks, that a magician (māyākāro) or a magician’s apprentice (māyākārantevāsī) would display a magical illusion (māyaṃ) at a crossroads. A man with good sight would inspect it, ponder, and carefully investigate it, and it would appear to him to be void (rittaka), hollow (tucchaka), coreless (asāraka). For what core (sāro) could there be in a magical illusion (māyāya)? So too, monks, whatever kind of cognition there is, whether past, future, or present, internal or external, gross or subtle, inferior or superior, far or near: a monk inspects it, ponders it, and carefully investigates it, and it would appear to him to be void (rittaka), hollow (tucchaka), coreless (asāraka). For what core (sāro) could there be in cognition?"

"This gnosis shows him all beings as like an illusion, Resembling a great crowd of people, conjured up at the crossroads, By a magician, who then cuts off many thousands of heads; He knows this whole living world as a magical creation, and yet remains without fear."

"Those who teach Dharma, and those who listen when it is being taught; Those who have won the fruition of a Worthy One, a Solitary Buddha, or a World Savior; And the nirvāṇa obtained by the wise and learned— All is born of illusion—so has the Tathāgata declared."

"Perhaps these were the errors of others rather than his [Jesus] own; and if it be true that he himself shared the general illusion, what matters it, since his dream rendered him strong against death, and sustained him in a struggle to which he might otherwise have been unequal?"

"Nirvana is a state of pure bliss and knowledge... It has nothing to do with the individual. The ego or its separation is an illusion. Indeed in a certain sense two "I"'s are identical namely when one disregards all special contents — their Karma. The goal of man is to preserve his Karma and to develop it further... when man dies his Karma lives and creates for itself another carrier."

"Illusions will not last. Their death is sure, and this alone is certain in their world. It is the ego’s world because of this. What is the ego? But a dream of what you really are. A thought you are apart from your Creator and a wish to be what He created not. It is a thing of madness, not reality at all. A name for namelessness is all it is. A symbol of impossibility; a choice for options that do not exist."

"Illusions are always illusions of differences. How could it be otherwise? By definition, an illusion is an attempt to make something real that is regarded as of major importance, but is recognized as being untrue. The mind therefore seeks to make it true out of its intensity of desire to have it for itself. Illusions are travesties of creation; attempts to bring truth to lies. Finding truth unacceptable, the mind revolts against truth and gives itself an illusion of victory.p. 25 Every illusion is one of fear, whatever form it takes. And the attempt to escape from one illusion into another MUST fail. p. 385"

"No matter how frequently you visit the realm of dreams, you will inevitably confront the unvarnished truth. However, our truth is so much bitter that not even the entirety of the world's sugar can sweeten it."

"Love is a simple thing and a deep thing: it is an act of life and not an illusion. Art is an illusion."

"The fundamental principle of art is deception. A work of art is either an illusion or delusion. It is never an exact reproduction of nature or facts. A portrait which accurately represents an original is not artistic. A painting, a photograph, an engraving is such a disposition of white upon black or of colours as to produce the illusion of relief."

"Know ye not then the Riddling of the Bards? Confusion, and illusion, and relation, Elusion, and occasion, and evasion? I mock thee not but as thou mockest me, And all that see thee, for thou art not who Thou seemest, but I know thee who thou art. And now thou goest up to mock the King, Who cannot brook the shadow of any lie."

"When one illusion doesn't work then we become disillusioned and we go around with our antennae up looking for another illusion."

"Identification with your mind creates an opaque screen of concepts, labels, images, words, judgments, and definitions that blocks all true relationship. It comes between you and yourself, between you and your fellow man and woman, between you and nature, between you and God. It is this screen of thought that creates the illusion of separateness, the illusion that there is you and a totally separate "other." p. 15"

"To be identified with your mind is to be trapped in time: the compulsion to live almost exclusively through memory and anticipation. This creates an endless preoccupation with past and future and an unwillingness to honor and acknowledge the resent moment and allow it to be. The compulsion arises because the past gives you an identity and the future holds the promise of salvation, of fulfillment in whatever form. Both are illusions. p. 36"

"To perceive yourself as a vulnerable body that was born and a little later dies - that's the illusion. Body and death: one illusion. You cannot have one without the other. You want to keep one side of the illusion and get rid of the other, but that is impossible. Either you keep all of it or you relinquish all of it. p. 124"

"If you can recognize illusion as illusion, it dissolves. The recognition of illusion is also its ending. Its survival depends on your mistaking it for reality. p. 20"

"When the ego is at war, know that it is no more than an illusion that is fighting to survive... All that is required to become free of the ego is to be aware of it, since awareness and ego are incompatible. Awareness is the power that is concealed within the present moment. p. 50"

"The atman believes that "it is a consistent reality, but this is an illusion: There is only one reality, which is that of 'God' (i.e. Brahman). In the classic formula, Âtman is Brahman, but until I have attained 'liberation' I am under the contrary illusion.""

"The term Maya has been translated as 'illusion,' but then it does not concern normal illusion. Here 'illusion' does not mean that the world is not real and simply a figment of the human imagination. Maya means that the world is not as it seems; the world that one experiences is misleading as far as its true nature is concerned."

"Cypher: You know, I know this steak doesn't exist. I know that when I put it in my mouth, the Matrix is telling my brain...that it is juicy...and delicious. After nine years, you know what I realize? Ignorance is bliss."

"The variety of constraints pressing upon man give rise to the illusion of several distinct species that cannot communicate."

"Yes, I have tricks in my pocket, I have things up my sleeve. But I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion."

"The world is real, not illusory. It exists and endures because of the ignorance of the soul, of the spirit. Maya, cosmic illusion, endured by man as long as he is blinded by ignorance, makes possible the maintenance of the material world."

"Compared to other neo-avant-garde movements that emerged during the 1960s, conceptual art is conspicuous by virtue of the lack of serious discussion by art historians and critics over the last two decades. This gap in the reception is particularly ironic given the tremendous influence conceptual art has had on subsequent artistic developments, on the critical discussion surrounding the concept of postmodernism, and on the recognition and use, more generally, of various forms of theory by artists, curators, critics, and historians."

"Well sure, my sculptures are floor pieces. Each one, like any area on the surface of the earth,, supports a column of air that weighs – what is it? – 14.7 pounds per square inch. So in a sense, that might represent a column. It’s not an idea, it’s a sense of something you know, a demarked place. Somehow I think I always thought of it going that way, rather than an idea of a narrowing triangle going to the center of the earth... I have nothing to do with conceptual art. I’m not interested in ideas. If I were interested in ideas, I’d be in a field where what we think in is ideas... I don’t really know what an idea is. One thing for me is that if I can frame something in language, I would never make art out of it. I make art out of things which cannot be framed in any other way. (December 1969, talking with the audience)"

"the price of Conceptual Art's entry into the polite society during the 70s was surrender of its abrasiveness and anomalousness. By the middle of the decade much of what had been the Conceptual Art movement was transformed into a 'radically responsible' publicity through appropriation of the methods of semiology."

"Let us consider two important factors, the two poles of the creation of art: the artist on one hand, and on the other the spectator who later becomes the posterity; to all appearances the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing."

"Concept art is first of all an art of which the material is concepts, as the material of e.g. music is sound. Since concepts are closely bound up with language, concept art is a kind of art of which the material is language."

"Great art – or good art – is when you look at it, experience it and it stays in your mind. I don't think conceptual art and traditional art are all that different. There's boring conceptual art and there's boring traditional art. Great art is if you can't stop thinking about it, then it becomes a memory."

"The world is full of objects, more or less interesting; I do not wish to add any more."

"The main qualifications to the lesser position of painting is that advances in art are certainly not always formal ones."

"The main virtue of geometric shapes is that they aren't organic, as all art otherwise is. A form that's neither geometric or organic would be a great discovery."

"I don't know if I'm making myself clear, but if I were to accept this business of conceptual art I would have no reason to exist."

"The general ignorance of the visual arts, especially their theoretical bases, deplorable even in the so-called intellectual world; the artist’s well-founded despair of ever reaching the mythical “masses” with “advanced art”; the resulting ghetto mentality predominant in the narrow and incestuous art world itself, with its resentful reliance on a very small group of dealers, curators, critics, editors, and collectors who are all too frequently and often unknowingly bound by invisible apron strings to the “real world’s” power structure—all of these factors may make it unlikely that conceptual art will be any better equipped to affect the world any differently than, or even as much as, its less ephemeral counterparts."

"Conceptual Art in the broadest sense was a kind of laboratory for innovations in the rest of the century. An unconscious international energy emerged from the raw materials of friendship, art history, interdisciplinary readings and a fervor to change the world and the ways artists related to it."

"We are still spellbound by a tradition that arranged psychological faculties hierarchically, relegating ‘sensuousness’ — that is, perception — to a lower position in comparison to higher, reflective functions of reason and understanding. The most advanced versions of ‘conceptual art’ still follow this tradition. By refusing to base themselves in sensuously perceptible distinctions between works of art and other objects, these works seek to avoid reducing art to the realm of sense perception."

"Conceptual Art is a sounding instrument between printed words, luminous writings, and letters scrawled in a hasty nervous instinctive calligraphy."

"By adopting language as their exclusive medium, Weiner, Barry, Wilson, Kosuth and Art & Language were able to sweep aside the vestiges of authorial presence manifested by formal invention and the handling of materials"

"Not only were the minds of artists formed by the university; in the same mold were formed those of the art historians, the critics, the curators, and the collectors by whom their work was evaluated. With the rise of Conceptual art, the classroom announced its final triumph over the studio."

"Roy Ascott... powerfully demonstrates the significant intersections between conceptual art and art and technology, exploding the conventional autonomy of these art historical categories."

"After a few months in my parents' basement, I took an apartment near the state university, where I discovered both crystal methamphetamine and conceptual art. Either one of these things are dangerous, but in combination they have the potential to destroy entire civilizations."

"Conceptual art, more than all previous types of art, questions the fundamental nature of art. Unhappily, the question is strictly limited to the exclusive domain of fine art. There is still potential of it enabling an examination of all that surrounds art, but in reality, conceptual artists are dedicated only to exploring avant-garde aesthetic problems."

"If we are the best, it is only fair that they imitate us."

"I do not mind objects, but I do not care to make them."

"Language is the most formless means of expression. Its capacity to describe concepts without physical or visual references carries us into an advanced state of abstraction."

"In conceptual art the idea or concept is the most important aspect of the work . . . all planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes the machine that makes the art."

"In conceptual art the idea or the concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it is intuitive; it is involved with all types of mental processes and it is purposeless. It is usually free from the dependence on the skill of the artist as a craftsman."

"Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach."

"All of the significant art of today stems from Conceptual art. This includes the art of installation, political, feminist and socially directed art."

"Mughal painting is a particular style of South Asian painting, generally confined to miniatures either as book illustrations or as single works to be kept in albums, which emerged from Persian miniature painting, with Indian Hindu, Jain, and Buddhist influences, and developed largely in the court of the Mughal Empire (16th - 19th centuries), and later spread to other Indian courts, both Muslim and Hindu, and later Sikh."

"My native city, with the interior of every house and every creature therein, lay open to my view in miniature. We mounted higher, and lo, the secrets of the earth, the depths of mines and inmost caverns of the hills, were bared before me."

"The Air Force has it far worse than the Navy in terms of existential fears, primarily due to the rapid rise and unbelievable dissemination of drones, where seemingly now every military unit has their own miniature air wing of what would have recently passed as toys."

"In the seventeenth century, it was held by some that inside a human sperm there was a minute human being - a homunculus - that was planted inside the womb. Development consisted of the miniature homunculus enlarging and passing through birth and on to [[maturity-just like inflating a balloon."

"In the Seljuk period, figurative themes of Turco-Mongol character are some what apparent in all the minor arts in both Iran and Iraq. The true Persian miniature, however, which is indisputably the most perfect figurative art on the soil of Islam, did not come into the world until after the conquest of Iran by the Mongols, and more precisely under the rule of the Īl-Khāns (1256). It is modeled upon Chinese painting with its perfect blend of calligraphy and w:Illustration|illustration...The link between writing and image remains fundamental to Persian miniatures, which, belongs, as a whole, to the art of books; all the famous miniaturists were calligraphers before becoming painters."

"By reason of its normative character, the Persian miniature can serve to express a contemplative vision; this particular quality is partly due to the Shiʿite milieu in which the boundary between religious law and free inspiration is far less trenchant than in the Sunni one."

"Their study [Soliloquy] is particularly fruitful in enabling us to grasp something of the distinctive quality of Shakespeare's craftsmanship, being in-miniature reflections of his art of language and characterization, and his skill of dovetailing in the construction."

"The story of miniature railways began with the construction of large model locomotives. Some were built to publicize the work of manufacturers of full-size equipment. Others were built by skilled machinists for their own amusement. It was some time before the first complete miniature railways were constructed with track, rolling stock and all other paraphernalia needed to create a working railway system, but once the possibilities were widely understood the number of railways steadily increased. Since the last quarter of the nineteenth century they have been a feature of life on country estates and in many private gardens."

"This year [1930], when we all needed something to take our minds off our troubles, miniature golf did it . . . . If we cannot find bread, we are satisfied with the circus."

"Remembering that man is indeed the microcosm, the universe in miniature, the Divine Dance of the future should be able to convey with its slightest gestures some significance of the universe."

"Although the tiniest bacterial cells are incredibly small, weighing less than 10-12 gms, each is in effect a veritable micro-miniaturized factory containing thousands of exquisitely designed pieces of intricate molecular machinery made up altogether of one hundred thousand million atoms, far more complicated than any machinery built by man and absolutely without parallel in the non-living world."

"The inflexible path along which he moved would not deviate in that direction. It would not turn him that way. The golden figure in that scene, the miniature doll in that room, was only distantly related to him. It was himself, but a faraway self."

"The tree was evidently aged, from the size of its stem. It was about six feet high, the branches came out from the stem in a regular and symmetrical manner, and it had all the appearance of a tree in miniature."

"Thinking is an experimental dealing with small quantities of energy, just as a general moves miniature figures over a map before setting his troops in action."

"ONCE when the snow of the year was beginning to fall, We stopped by a mountain pasture to say, “Whose colt?” A little Morgan had one forefoot on the wall, The other curled at his breast. He dipped his head And snorted to us. And then we saw him bolt. We heard the miniature thunder where he fled, And we saw him, or thought we saw him, dim and gray, Like a shadow across instead of behind the flakes. The little fellow’s afraid of the falling snow. He never saw it before. It isn’t play With the little fellow at all. He’s running away. He wouldn’t believe when his mother told him,..."

"Think of the Queen Mary— the whole ship goes by and then comes the rudder. And there's a tiny thing at the edge of the rudder called a trimtab. It's a miniature rudder. Just moving the little trim tab builds a low pressure that pulls the rudder around. Takes almost no effort at all. So I said that the little individual can be a trimtab. Society thinks it's going right by you, that it's left you altogether. But if you're doing dynamic things mentally, the fact is that you can just put your foot out like that and the whole big ship of state is going to go. So I said, call me Trimtab."

"It [smart contact lens] is likely to spur a range of other innovations towards miniaturizing technology and using it in wearable devices to help people monitor."

"It is relatively simple to set up a fantasy campaign, and better still, it will cost almost nothing. In fact you will not even need miniature figures, although their occasional employment is recommended for real spectacle when battles are fought."

"The more intensively the family has stamped its character upon the child, the more it will tend to feel and see its earlier miniature world again in the bigger world of adult life. Naturally, this is not a conscious, intellectual process."

"The whole life of the empire went back to the senate — later to the Caesar, the all-powerful, omniscient god of the empire. Every province, every district had its capital in miniature, its small portion of Roman sovereignty to govern every aspect ..."

"Ottoman miniature painting gave up the warmth, the whimsy, the theatricality, and the multiple meanings of Iranian art in favor of realism, which was also expressed in Ottoman maps, fortress plans and geographies."

"...the theological standpoint on which Luther based his intervention, and it shows in miniature the rich Augustinian spirituality of penance and the progress that he had forged in his early works."

"Demons aren't bound by physics. If you take the long view, the universe is just something small and round, like those water filled balls which produce a miniature snowstorm when you shake them."

"While I pride myself on trying to be creative in all areas of my life, I have occasionally gone overboard, like the time I decided to bring to a party a salad that I constructed, on a huge rattan platter, to look like a miniature scale model of the Gardens of Babylon."

"Sixtenth century represents the zenith of Ottoman miniature painting. During this time, the influences of the late 15th and early 16th centuries—the encounters with western European portraiture, the growing emphasis on historiographical painting, the impact of ;nautical cartography, and the enduring influence of the Persian legacy – began to crystallize into distinctly Ottoman styles and genres."

"The great composers of the Romantic period all wrote works that we today call "miniatures." They are not large-scale works like concertos, sonatas, etc. but rather small, self-contained works that usually stick to one or two sentiments. Some famous examples are Mendelssohn's Lieder ohne Worte ("Songs without words"), which are the length of a short song and organized accordingly, yet are for solo piano. Schubert chose to call some of his piano miniatures Moments musicaux ("Musical moments"), which designates them as short works. Chopin had his preludes; Brahms called many of his works in this genre "Intermezzo," a word that means something in-between. Like Chopin's preludes, they really stand alone, or in a set of similarly-titled pieces."

"Schools are miniature universes. They encompass, on a child's scale, the same kind of domination and repression as the most despotically organised societies."

"India has been a cauldron of dreams, ideas and aspirations of the humankind and this is a distinctive character of India, and Indian in that sense represents the world in miniature. If a system can succeed in India, it will indicate the possibility of success in the world as a whole."

"Plant lovers looking for new and exciting kinds to grow, orchid growers seeking more variety, will find unending fascination and beauty in miniature orchids. It has been proven that orchids can be grown on windowsills and under lights as well as in green houses. Miniature orchids – those ranging in height from ½ inch to 6 inches offer everything that the larger one do."

"The true Poet is all-knowing; he is an actual world in miniature."

"Rance: A search party must be organized. What have you in the way of dogs? Prentice: A spaniel and a miniature poodle. Rance: Let them be unleashed!"

"One man is equivalent to all Creation. One man is a World in miniature."

"He could, though, just make out a miniature replica of Cori Celesti, upon whose utter peak the world’s quarrelsome and somewhat bourgeois gods lived in palace of marble, alabaster and uncut moquette three-piece suits they had chosen to call Dunmanifestin."

"It might help if you imagine an inner living dimension within yourself in which you create, in miniature psychic form, all the exterior conditions that you know. Simply put, you do exactly this. Your thoughts, feelings and mental pictures can be called incipient exterior events, for in one way or another each of these is materialized into physical reality."

"I've never seen anywhere in the world as beautiful as Kashmir. It has something to do with the fact that the valley is very small and the mountains are very big, so you have this miniature countryside surrounded by the Himalayas, and it's just spectacular. And it's true, the people are very beautiful too."

"I have sought it, finally, because in the union of love I have seen, in a mystic miniature, the prefiguring vision of the heaven that saints and poets have imagined. This is what I sought, and though it might seem too good for human life, this is - at last what – I have found."

"We had a large old-fashioned battery, a wet cell, in the kitchen, hooked up to an electric bell. The bell was too complicated to understand at first, and the battery, to my mind, was more immediately attractive, for it contained an earthenware tube with a massive, gleaming copper cylinder in the middle, immersed in a bluish liquid, all this inside an outer glass casing, also filled with fluid, and containing a slimmer bar of zinc. It looked like a miniature chemical factory of sorts, and I thought I saw little bubbles of gas, at times, coming off the zinc. The Daniell cell (as it was called) had a thoroughly nineteenth-century, Victorian look about it, and this extraordinary object was making electricity all by itself—not by rubbing or friction, but just by the virtue of its own chemical reactions."

"The first of the “request” prayers in the daily Amidah is a fractal. It replicates in miniature the structure of the Amidah as a whole (Praise-Request-Thanks)."

"Mushrooms are miniature pharmaceutical factories, and of the thousands of mushroom species in nature, our ancestors and modern scientists have identified several dozen that have a unique combination of talents that improve our health."

"Survival kit contents check. In them you'll find: one forty-five caliber automatic; two boxes of ammunition; four days' concentrated emergency rations; one drug issue containing antibiotics, morphine, vitamin pills, pep pills, sleeping pills, tranquilizer pills; one miniature combination Russian phrase book and Bible; one hundred dollars in rubles; one hundred dollars in gold; nine packs of chewing gum; one issue of prophylactics; three lipsticks; three pair of nylon stockings. Shoot, a fella' could have a pretty good time."

"Dr. Strangelove in: Quotes for Maj. T.J. 'King' Kong (Character) in Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb , IMDb,"

"The copper patina-clad statue, dedicated on October 28, 1886, commemorates the centennial of the United States and is a gesture of friendship from France to America. Frederic Auguste Bartholdi sculpted the statue and obtained a U.S. patent useful for raising construction funds through the sale of miniatures."

"By the beginning of the twentieth century, flowers, faces and miniature landscapes began to appear beside patterns of pointed stars, and to this day annual contests reward the most creative artists in this tradition."

"Since earliest times men have loved to make small likenesses of themselves and of their animals. The ancient Greeks kept images of the gods in their houses to watch over the inmates; they place statutes in graves to please the dead, and they offered others to the nymphs of a spring so that water might flow fresh in the fountain. Such ideas lingered long and sustained a craft that gradually turned from religious to artistic pre-occupations and from the production of primitive images to true miniature sculpture."

"The selection range in miniature sculpture are: religious, frivolous, theatrical, funeral, not to mention vases and lamps. The greatest virtuosity was reached during the Hellenistic period (325-86BC)."

"Artifacts of our oldest cultures give evidence that the human race has always made things in miniature. The early American Indians made ...dolls, toys, and miniature implements for their children. Toys have been found in Egyptian tombs as well as in archaeological digs of ancient China. The fascination for things in miniature is still strong for most people today."

"In western India, Jainism, an Indian religion which expounded renunciation and asceticism, gave rise to unique miniatures which flowered into the school of Rajasthani painting. The miniature paintings commenced with the patronage of the Jain merchants of Gujarat in the fourteenth century. The painting they commissioned were of illustrations of Jain Royalty and deities which were painted on dried palm leaves and bound in wooden covers...when paper was introduced in the last quarter of the fourteenth century, as somewhat large format became available...They were part of the illustrated texts which were preserved in temple libraries. The illustrated text inspired much of the later Hindu miniature paintings."

"The themes of Mithuna and Maithuna continued in paintings created during the Mughal and British rules (15-19th CE), mainly in Rajasthan and Himachal Pradesh. The erotic themes of the Hindu miniature paintings represented loves of divine couples."

"In such miniature paintings the theme of lyric poetry was depicted with strong confident lines, throbbing colours, and bold patterns, but controlled workmanship. The lively landscape created a standard for these outstanding illustrations."

"The ornamental borders framing the miniature paintings seem to be inspired by the decorative designs on the Mughal carpets."

"A portrait miniature is a miniature portrait painting, usually executed in gouache, water colour, or enamel. Portrait miniatures developed out of the techniques of the miniatures in illuminated manuscripts, and were popular among 16th-century elites, mainly in England and France, and spread across the rest of Europe from the middle of the 18th-century, remaining highly popular until the development of daguerreo types and photography in the mid-19th century. They were especially valuable in introducing people to each other over distances; a nobleman proposing the marriage of his daughter might send a courier with her portrait to visit potential suitors. Soldiers and sailors might carry miniatures of their loved ones while traveling, or a wife might keep one of her husband while he was away. The first miniaturists used water colour to paint on stretched vellum. During the second half of the 17th century, vitreous enamel painted on copper became increasingly popular, especially in France. In the 18th century, miniatures were painted with water colour on ivory, which had now become relatively cheap. As small in size as 40 mm × 30 mm, portrait miniatures were often used as personal w:Mementosmementos or as jewellery or snuff box covers."

"These are the visionary, mystical moments, when a man 'completes his partial mind'. His everyday conscious self is only a small part of the mind, like the final crescent of the moon. In moments of crisis, the full moon suddenly appears."

"And what you did was, you take the staff to a special room in Tanis, a map room with a miniature of the city all laid out on the floor, and if you put the staff in a certain place, at a certain time of day, the sun shone through here — and made a beam that came down on the floor here. And gave you the exact location of the Well of Souls."

"If we wanted applause, we would have joined the circus."

"The American circus has a unique and often overlooked importance in American history. The first American circuses began shortly after the country was founded, and as the country’s population grew, moved West, went through the Industrial Revolution, and opened its gates to the world, the circus followed. Indeed, in many cases the circus provided people’s first view of new inventions, exotic animals and peoples, and popular entertainments. The history of the circus is in many ways a microcosm of the history of America."

"A parasitic society which, like the urban proletariat in the Rome Empire lives for bread and circuses and turns savage if it is not given to them. Bread and circuses—to some observers, welfare and television seemed modern equivalents, pacifiers protectors of power and privilege."

"Clowns are the pegs on which the circus is hung."

"The way to go to the circus, however, is with someone who has seen perhaps one theatrical performance before in his life and that in the High School hall...The scales of sophistication are struck from your eyes and you see in the circus a gathering of men and women who are able to do things as a matter of course which you couldn’t do if your life depended on it."

"I remember in the circus learning that the clown was the prince, the high prince. I always thought that the high prince was the lion or the magician, but the clown is the most important."

"Circus, n. A place where horses,ponies and elephants are permitted to see men, women and children acting the fool."

"Philip Astley was a horseman with a British dragoon regiment from about 1759 and at first was the sole performer in the Amphitheatre, specializing in riding with one foot on the saddle and one on the horse’s head while brandishing a sword. He gradually included other equestrians, acrobats, rope dancers, aerialists, clowns, and the first recorded circus freak show."

"Take a look at those clowns And the tricks that they play In the circus of life Life is bitter and gay:There are clowns in the night Clowns everywhere See how they run Run from despair"

"America's first circus building was opened here at 12th and Market Streets, April 3, 1793. On that day the English equestrian John Bill Ricketts gave America's first complete circus performance. President Washington attended this show later that season."

"Damn everything but the circus!...The average 'painter' 'sculptor' 'poet' 'composer' 'playwright' is a person who cannot leap through a hoop from the back of a galloping horse, make people laugh with a clown's mouth, orchestrate twenty lions."

"What's this? he inquired, none too pleasantly. A circus? No, Julius. It's the end of the circus. I see. And these are the clowns? Foaly's head poked through the doorway. Pardon me for interrupting your extended circus metaphor, but what the hell is that?"

"I’ve been through everything. I always said I was like those round-bottomed circus dolls — you know, those dolls you could push down and they’d come back up? I’ve always been like that. I’ve always said, "No matter what happens, if I get pushed down, I’m going to come right back up."

"The attraction of the virtuoso for the public is very like that of the circus for the crowd. There is always a hope that something dangerous may happen: Mr. X may play the violin with Mr. Y on his shoulders; or Mr. Z may conclude his piece by lifting the piano with his teeth."

"Yes, to dance beneath the diamond sky with one hand waving free, Silhouetted by the sea, circled by the circus sands, With all memory and fate driven deep beneath the waves, Let me forget about today until tomorrow."

"Cinema is neither new nor an art," he muttered, then looked up. Cinema is an old whore, like circus and variety, who knows how to give many kinds of pleasure. Oh, they've been trying to wash her face and make her respectable, but it can't ."

"Netherlands is the third European country to ban the use of wild animals in circuses, after Austria and Greece which have already made the move. Greece even put an end to the use of all animals in circuses."

"How many of these children would one day be queer? How many would be felled by the acronym? How many by something else? How many would forget the circus? How many would never see it at all? How many would join?”"

"Time is a circus, always packing up and moving away."

"Well she's walking through the clouds With a circus mind, that's running round. Butterflies and Zebras, and moonbeams, and fairy tales- That's all she ever thinks about. Riding with the wind."

"Next to a circus there ain't nothing that packs up and tears out any quicker than the Christmas spirit."

"Every country gets the circus it deserves. Spain gets bullfights. Italy the Church. America Hollywood."

"The internet is like a big circus tent full of scary, boring creatures and pornography."

"The circus collects the outsiders like a flame tempts moths."

"The whole world is a circus if you look at it the right way... Every time you pick up a handful of dust and see not the dust but a mystery, a marvel there in your hand. Every time you stop to think “I'm alive! and being alive is fantastic!” Every time such a thing happens, you're a part of the circus of Dr. Lao."

"The circus had been unlike anything I could ever imagine and I could not walk away. I wanted to be a part of the magic, create it and wield it with such skill that it looked effortless. I wanted to fly."

"Circus Maximus, and more freq. κατ̓ ἐξοχήν Circus, the oval circus built by Tarquinius Priscus between the Palatine and Aventine hills, which could contain more than one hundred thousand spectators. It was surrounded by galleries three stories high, and a canal called Euripus. Through its whole length, in the middle, a wall four feet high and about twelve broad was built, called spina, at the ends of which there were three columns upon one base (meta), around which the combatants were required to pass seven times before the prize was awarded. In the middle of the spina, Cæsar erected the obelisk, 132 feet high, brought from Egypt."

"What a circus act we women perform every day of our lives. Look at us. We run a tightrope daily, balancing a pile of books on the head. Baby-carriage, parasol, kitchen chair, still under control. Steady now! This is not the life of simplicity but the life of multiplicity that the wise men warn us of."

"Painted and smiling, I balance on my trapeze. Luka is poised ten metres away, his muscles shining under the lights. The wooden circles in his earlobes twitch as his jaw clenches, unclenches, clenches."

"Public entertainment was a very important aspect in Roman life, both in the city and provinces. Juvenal went as far to say that all the Roman public was interested in was panem et circenses (bread and circuses)."

"The three main types of entertainment venues at the ludi were the circuses, the amphitheaters, and the theater performances. All performances were completely spectacular for their t ime and would still be greatly impressive today."

"Chariot racing was the oldest entertainment in Rome. It was also the most popular venue by far. Chariot racing dated all the way back to the monarchy and founding of Rome. The Greeks also held chariot races and had a large influence on the Roman tradition. Chariot racing was not the only event held in the circuses. Wrestling and gladiator combats were also held in some cases, but chariot racing was the most common."

"The circus building itself was based on the Greek hippodrome. The circus had seats for spectators around a "u" shaped arena. The racing took place in the arena around a barrier (spina) in the middle, with turning posts (metae) around each end. At one end of the arena were the starting gates. The first circus built in Rome was the Circus Maximus that was constructed during the monarchy. It was built completely from wood. Later it was rebuilt at various times. The final version could seat 250,000 people, it was built of stone and measured 400 m in length and 90 m in width."

"They are enthusiast, devotees, Addicts. Something about the circus stirs their souls, and they ache for it when it is absent."

"In the mid 19th century there were hundreds of circuses operating in Britain. Trick riding continued to be the main attraction, but a variety of other acts developed. There was even an aquatic circus where the circus ring was flooded with water... One of the factors that made circus so popular was that fairground entertainers traveled to their audiences. From the late 18th century circuses toured to even the smallest towns and in the 19th century the development of the railways enabled circuses to travel further. By the 1870s huge circuses were touring across Europe and America with two or three trainloads of equipment."

"The circus is a jealous wench. Indeed that is an understatement. She is a ravening hag who sucks your vitality as a vampire drinks blood – who kills the brightest stars in her crown and will allow no private life for those who serve her; wrecking their homes, ruining their bodies, and destroying the happiness of their loved ones by her insatiable demands. She is all of these things, and yet, I love her as I love nothing else on earth."

"Just as people can watch spellbound a circus artist tumbling through the air in a phosphorized costume, so they can listen to a preacher who uses the Word of God to draw attention to himself. But a sensational preacher stimulates the senses and leaves the spirit untouched. Instead of being the way to God, his 'being different' gets in the way."

"Animals aren’t actors, spectacles to imprison and gawk at, or circus clowns. Yet thousands of these animals are forced to perform silly, confusing tricks under the threat of physical punishment; are carted across the country in cramped and stuffy boxcars or semi-truck trailers; are kept chained or caged in barren, boring, and filthy enclosures; and are separated from their families and friends—all for the sake of human “entertainment.” Many of these animals even pay with their lives."

"They were brought out of Africa and into chains in America. Or they were born into slavery here. Yes, I am talking about the first African-Americans to reach these shores, but I am also describing the animals now enslaved in circuses. The species and continents are different, but the stories are tragically similar. The animals in circuses are held against their will by chains and domination. They are forced to perform a series of acts by coercion and violence because they would never normally do these things on their own. They can never choose their own partners, their own homes, their own food or have control over any aspect of their lives. I don't care how this is dressed up by promoters with music and lights, it is still slavery."

"The circus business is an unlawful calling, one that cannot be defended on scriptural ground. The performances are calculated to amuse the giddy and thoughtless and to excite the laughter of fools. There is no tendency to administer useful instruction, to regulate affections or restrain the inordinate passions of this audience. In addition, it does not yield a rational amusement to men of understanding and reflection. Our country,...is infested with dishonest, unprincipled men of various descriptions such as swindlers, counterfeiters, stage players and showmen. He [the editor] urges the friends of Christian morality to remember that they were bound by sacred ties to discourage every species of amusement calculated to corrupt the principles of the rising generation."

"In 1924, J.W. Bancker's was the first American to use the word "circus" in the title of his troupe, J.W.Bancker's New York Circus."

"Ricketts, an accomplished performer and horseman, set-up in Philadelphia “at very considerable expense” an outdoor riding ring he called a “circus” at the corner of Twelfth and Market Streets, which he opened on April 3, 1793. This was the first complete circus in America, because it incorporated the elements of clowning, music, acrobatics, and horsemanship...In his eight-year career, he built at least twenty circuses, located in every major eastern American city, including several amphitheaters in Philadelphia and New York...called “The Father of the American Circus” he sold his horses and set sail for England in 1800. He and all hands were lost at sea, a final twist to the pattern of ill luck that had plagued his last years."

"Life is a great big beautiful three-ring circus. There are those on the floor making their lives among the heads of lions and hoops of fire, and those in the stands, complacent and wowed, their mouths stuffed with popcorn."

"The use of culture is that it helps us, by means of its spiritual standard of perfection, to regard wealth as but machinery, and not only to say as a matter of words that we regard wealth as but machinery, but really to perceive and feel that it is so. If it were not for this purging effect wrought upon our minds by culture, the whole world, the future as well as the present, would inevitably belong to the Philistines. The people who believe most that our greatness and welfare are proved by our being very rich, and who most give their lives and thoughts to becoming rich, are just the very people whom we call the Philistines. Culture says: “Consider these people, then, their way of life, their habits, their manners, the very tones of their voice; look at them attentively; observe the literature they read, the things which give them pleasure, the words which come forth out of their mouths, the thoughts which make the furniture of their minds; would any amount of wealth be worth having with the condition that one was to become just like these people by having it?”"

"The great law of culture is: Let each become all that he was created capable of being."

"A rational, moral being cannot, without infinite wrong, be converted into a mere instrument of others’ gratification. He is necessarily an end, not a means. A mind, in which are sown the seeds of wisdom, disinterestedness, firmness of purpose, and piety, is worth more than all the outward material interests of a world. It exists for itself, for its own perfection, and must not be enslaved to its own or others’ animal wants."

"When I speak of the purpose of self-culture, I mean that it should be sincere. In other words, we must make self-culture really and truly our end, or choose it for its own sake, and not merely as a means or instrument of something else. And here I touch a common and very pernicious error. Not a few persons desire to improve themselves only to get property and to rise in the world; but such do not properly choose improvement, but something outward and foreign to themselves; and so low an impulse can produce only a stinted, partial, uncertain growth. A man, as I have said, is to cultivate himself because he is a man. He is to start with the conviction that there is something greater within him than in the whole material creation, than in all the worlds which press on the eye and ear; and that inward improvements have a worth and dignity in themselves quite distinct from the power they give over outward things."

"Culture is at once the expression and the reward of an effort, and any system of civilization which tends to relax effort will suffer a corresponding depreciation of culture."

"When the native hears a speech about Western culture he pulls out his knife—or at least he makes sure it is within reach. The violence with which the supremacy of white values is affirmed and the aggressiveness which has permeated the victory of these values over the ways of life and of thought of the native mean that, in revenge, the native laughs in mockery when Western values are mentioned in front of him."

"Everything excellent limits us momentarily because we feel unable to match up to it; only insofar as we subsequently accept it into our own culture, absorb it as belonging to our own mental and temperamental powers, do we come to love and value it."

"We consider classical music to be the epitome and quintessence of our culture, because it is that culture’s clearest, most significant gesture and expression. In this music we possess the heritage of classical antiquity and Christianity, a spirit of serenely cheerful and brave piety, a superbly chivalric morality. For in the final analysis every important cultural gesture comes down to a morality, a model for human behavior concentrated into a gesture."

"We do not truly possess our humanity and culture as long as we live only in the present, in our own accidental environment."

"Culture is the sum of all the forms of art, of love and of thought, which, in the course of centuries, have enabled man to be less enslaved."

"In its relation to the reality of daily life, the high culture of the past was many things—opposition and adornment, outcry and resignation. But it was also the appearance of the realm of freedom: the refusal to behave."

"The Philistine ... strictly separates “the earnestness of life” (under which term he understands his calling, his business, and his wife and child) from ... trivialities, and among the latter he includes all things which have any relation to culture. Therefore, woe to the art that takes itself seriously, that has a notion of what it may exact, and that dares to endanger his income, his business, and his habits!"

"The service of philosophy, of speculative culture, towards the human spirit is to rouse, to startle it into sharp and eager observation. … Not the fruit of experience, but experience itself, is the end."

"In our bourgeois Western world total labor has vanquished leisure. Unless we regain the art of silence and insight, the ability for non-activity, unless we substitute true leisure for our hectic amusements, we will destroy our culture—and ourselves."

"It is natural for great minds—the true teachers of humanity—to care little about the constant company of others; just as little as the schoolmaster cares for joining in the gambols of the noisy crowd of boys which surround him. The mission of these great minds is to guide mankind over the sea of error to the haven of truth—to draw it forth from the dark abysses of a barbarous vulgarity up into the light of culture and refinement."

"The first effect of modernism was to make high-culture difficult: to surround beauty with a wall of erudition."

"The disinterested love of truth which culture fosters is akin to the unselfishness which is a characteristic of the good."

"The man of culture finds the whole past relevant; the bourgeois and the barbarian find relevant only what has some pressing connection with their appetite."

"At present, in consequence of the existence of private property, a great many people are enabled to develop a certain very limited amount of Individualism. They are either under no necessity to work for their living, or are enabled to choose the sphere of activity that is really congenial to them, and gives them pleasure. These are the poets, the philosophers, the men of science, the men of culture – in a word, the real men, the men who have realised themselves, and in whom all Humanity gains a partial realisation. Upon the other hand, there are a great many people who, having no private property of their own, and being always on the brink of sheer starvation, are compelled to do the work of beasts of burden, to do work that is quite uncongenial to them, and to which they are forced by the peremptory, unreasonable, degrading Tyranny of want."

"I think it’s fantastic that graffiti and street artists are getting the recognition they deserve – it’s art with a social message made by anyone who’s got the bottle to spray on a wall and risk arrest."

"People say graffiti is ugly, irresponsible and childish. But that's only if it's done properly."

"Graffiti has more chance of meaning something or changing stuff than anything indoors. Graffiti has been used to start revolutions, stop wars, and generally is the voice of people who aren't listened to. Graffiti is one of those few tools you have if you have almost nothing. And even if you don't come up with a picture to cure world poverty you can make somebody smile while they're having a piss."

"I largely see graffiti as a set of painting techniques that represent an individual’s artistic expression. There are 3 main types of graffiti designs: character pieces, realistic pieces, and text pieces. I most often do text pieces, of which there are 4 styles: 2D, 3D, Wild Style, and Old School. I love Wild Style the most, which involves very colorful designs. I have a personal theme that I like to involve in my work – the butterfly. That is where I derive my name from: BF stands for butterfly. I try to convey the character of a butterfly when I do my work – things like freedom and bold expression. I want to be able to freely express my ideas and feelings through graffiti. Many people see graffiti as one of four main pillars of hip hop culture. I agree with this to an extent, but for me personally, graffiti is mostly a personal pursuit of artistic expression. My perception is that in places like the USA and Korea, maybe graffiti is more readily seen as hip hop culture, but maybe in some other places like Europe, it is less defined and might be seen as more of an artistic expression."

"[The street art is] decorative, contextual, layered and artists aren’t afraid of giving their name. Graffiti is more underground, more rebel."

"It was a big joke actually. The police thought that we were more than artists—they thought we were terrorists that wanted to bomb the city. They spent three days searching us and we spent one day in custody. In the end, the mayor of the city decided to release us."

"the reasons that I like to do graffiti are: 1- with making graffiti I want to cover all bad memories of war from people’s mind, with colors to cover all bad element of war with my graffiti’s. 2- to introduce art to people with making graffiti, cause as you know afghan people has no chance to visit some art gallery or museums, or they don’t want to go to some art exhibition, so if I do art everybody will enjoy it. In outside it is for longer time and slowly people with memorize it and it will be part of their life when every day they use the same way of that wall, it doesn’t need to ticket as well, it is colorful and bringing some change and give too much color to people’s mind. 3- I could say my words with shape to people, easily, image has more effect then word, and it’s a friendly way to fight, as I am fighting, now, for women rights as well with my art. 4- I believe there are many who forget all the tragedy women face in Afghanistan that is why I use my paintings as a mean to remind the people. I want to highlight the matter in the society, with paintings reflecting women in Burqas everywhere. And I try to show them bigger than what they are in reality, and in modern forms, in shaped in happiness, movement, maybe stronger. I try to make people look at them differently."

"I grew up in a very small town, without buildings but only houses – not the best for tagging. Also I liked the atmosphere of abandoned spaces, somehow apart from the real world. A good place to practice.It was only when I moved to a bigger city and felt more confident about my paintings that I started to do it in the streets. Tagging then became a drug; I was addicted to graffiti."

"Well, it was just—it seemed like it was violence, and, like, 'cause I went by some of the stores that, like, I don't really eat at McDonald's, y'know, but a lot of people do, and so there are these people who want, y'know, they're-they're socialists but they hate people, y'know, so they go trash the McDonald's, and I just think it was just reckless violence, and they weren't tryin'a accomplish anything, and they said—he was writing something on the wall, some kind of graffiti that was just stupid and cliché, and I said, "Hey, how would you like if someone did that to your house?" and he yelled back, "Fuck you!" and these other people started yelling "Fuck you!" at me; I'm, like, "Oh," like "I'm in trouble.""

"I wanted that work to carry the most important message ... that a person mustn't sell himself. I made a chocolate bar that can't be bought, using a giant panel of concrete."

"Italy and Europe in general can boast an ancient and hugely important tradition in art. It is difficult to enter the scene if you do something new, especially if it doesn’t belong to your traditional culture. I was lucky to travel very soon at the beginning of my career, so I was able to reach relative notoriety overseas (especially in America and Canada). There, people are of course more used to graffiti and more interested in discovering and appreciating it. My work improved greatly thanks to the foreign market. The audience was more openminded and I have been able to create a stronger artistic identity thanks to them. Nowadays I am working a lot in Europe and I am starting to have interesting clients in Italy also. It’s a bit difficult, in Italy, to find places to showcase graffiti art, but I can perceive a growing attention to the movement and initiatives that promote a harmonic mix of urban architecture and wall painting."

"Graffiti is a culture where if you're shit, everyone is quick to tell you. The mark of respect for a graffiti artists is how long your "piece" and tag stay up on a wall. Out of raw respect, other artists will not paint over something they think is good, and anyone who does paint over it better be prepared for a beat-down. However, if your stuff is no good, or if you are seen as amateur, you'll quickly find the word "lame" written all over your work. The offending person would then leave their own tag on the side as a direct challenge. The only way to get even was to be good. In the days before the mainstreaming of hip-hop culture and the appreciation of artists like Banksy, this was classic counterculture stuff."

"Sure, but Germany actually provides us with graffiti lawyers. And you need to be caught in action in order for the police to arrest you."

"Graffiti is graffiti and street art is street art. Street artists are more concerned with getting a message out to the public. And it often has political and social overtones. Graffiti is about style."

"They need to learn the importance of respect. They think getting up is cool, but too many young writers out there don’t have any knowledge of graffiti’s roots."

"Thou shalt not make unto thee any graven image (Hebrew פסל) or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth."

"God is spirit, and they that worship him must worship him in spirit and in truth."

"Claiming to be wise, they became fools, and exchanged the glory of the immortal God for images (εἰκόνος) resembling mortal man."

"What avails, then, the folly of the painter, who from sinful love of gain depicts that which should not be depicted—that is, with his polluted hands he tries to fashion that which should only be believed in the heart and confessed with the mouth? He makes an image and calls it Christ."

"If anyone shall endeavor to represent the forms of the Saints in lifeless pictures with material colors which are of no value (for this notion is vain and introduced by the devil), and does not rather represent their virtues as living images in himself, let him be anathema!"

"Scarifying and tattooing are going out of fashion. Many of the young men once so proud of their “ichi” marks, would gladly be relieved of [their marks]. What is a matter of pride, when among his own clansmen, becomes a reproach, because of the ridicule and contempt which is meted out to him in other parts of the country."

"Muhammad forbade the custom of the idolaters of Arabia to prick the hands of their women and to rub the punctures over with wood, indigo, and other colours."

"Erik Lehnsherr/Magneto: I have been marked once, my dear, and let me assure you... no needle shall ever touch my skin again."

"Ye shall not make any cuttings in your flesh for the dead, nor print any marks upon you: I am the Lord."

"“Allah has cursed those women who practise tattooing and those women who have themselves tattooed, and those women who get their hair removed from their eyebrows and faces (except the beard and the mustache), and those who make artificial spaces between their teeth for beauty, whereby they change Allah’s creation.”"

"“Allah has cursed those women who tattooed and who have themselves been tattooed, those who pluck hair from their faces and those who make spaces between their teeth for beautification changing what God has created” (5301)."

"Narrated Abu Huraira : A woman who used to practise tattooing was brought to 'Umar. 'Umar got up and said, "I beseech you by Allah, which of you heard the Prophet saying something about tattooing?" l got up and said, "0 chief of the Believers! l heard something." He said, "What did you hear?" I said, "I heard the Prophet (addressing the ladies), saying, 'Do not practise tattooing and do not get yourselves tattooed.'""

"Narrated Ibn 'Umar : I heard the Prophet saying, (or the Prophet said), "Allah has cursed the lady who practices tattooing and that who gets it done for herself, and also the lady who lengthens hair artificially and that who gets her hair lengthened artificially." The Prophet has cursed such ladies."

"Narrated 'Aun bin Abu Juhaifa: My father bought a slave who practiced the profession of cupping. (My father broke the slave's instruments of cupping). I asked my father why he had done so. He replied, "The Prophet forbade the acceptance of the price of a dog or blood, and also forbade the profession of tattooing, getting tattooed and receiving or giving Riba, (usury), and cursed the picture-makers.""

"Narrated Abu Juhaifa: The Prophet forbade the use of the price of blood and the price of a dog, the one who takes (eats) usury the one who gives usury, the woman who practises tattooing and the woman who gets herself tattooed."

"Narrated Aun bin Abu Juhaifa: I saw my father buying a slave whose profession was cupping, and ordered that his instruments (of cupping) be broken. I asked him the reason for doing so. He replied, "Allah's Apostle prohibited taking money for blood, the price of a dog, and the earnings of a slave-girl by prostitution; he cursed her who tattoos and her who gets tattooed, the eater of Riba (usury), and the maker of pictures.""

"Narrated Abu Huraira : Allah's Apostle said, "The evil eye is a fact," and he forbade tattooing."

"Narrated Ibn 'Umar : The Prophet has cursed the lady who lengthens hair artificially and that who gets her hair lengthened in such away, and the lady who practises tattooing and that who gets it done for herself."

"It was narrated that 'Abdulleh said: "The Messenger of Allah cursed the woman who does tattoos and the one who has them done, and those who pluck their eyebrows and file their teeth for the purpose of beautification, and those who change the creation of Allah." News of that reached a woman of Banu Asad who was called Umm Ya'qub. She came to him and said: "I have heard that you said such and such." He said: 'Why should I not curse those whom the Messenger of Allah cursed ? And it is in the Book of Allah." She said: "I read what is between its two covers 'and I have not found that." He said: "If you read it properly you would have found it. Have you not read the words: 'And whatsoever the Messenger (Muhammad) gives you, take it; and whatsoever he forbids you, abstain (from it).'?" She said: "Of course." He said: 'The Messenger of Allah forbade that." She said: 'I think that your wife does it.' He said: " Go and look." So she went and looked and she did not see what she wanted. She said: "I have not seen anything!’ 'Abdullah said: "If she was as you say, I would not have kept her with me. " (Sahih)"

"I pretended to admire the tattoo in the shape of the Greek letter omega that covered her cheeks and forehead. It looked as if a dray horse had kicked her in the face."

"The Fluxus movement... developed its 'anti-art', anti-commercial aesthetics under the leadership of George Maciunas. Fluxus staged a series of festivals in Paris, Copenhagen, Amsterdam, London and New York, with avant-garde performances often spilling out into the street. Most of the experimental artists of the period, including Joseph Beuys, Yoko Ono and Nam June Paik, took part in Fluxus events. The movement, which still continues, played an important role in the opening up of definitions of what art can be."

"My first concert - apart from Beethoven at School and Satie at the opening of my exhibition in Kleve in 1960 - was at the gallery Parnass in Wuppertal in 1963. Dressed like a regular pianist in dark grey flannel, black tie and no hat, I played the piano all over – not just the keys – with many pairs of old shoes until it disintegrated. My intention was neither destructive nor nihilistic. “Heal like with like” – similia similibus curantur – in the homeopathic sense. The main intention was to indicate a new beginning.. ..or simply a revolutionary act. This was my first public Fluxus appearance."

"On the first night I performed a 'Concert for tow Musicians'. It lasted for perhaps twenty seconds. I dashed forward in the gap between two performances wound up a clockwork toy, two drummers, on the piano, and let them play until the clockwork ran down. That was the end. The Fluxus people felt that this short action was my breakthrough, while the event of the second evening was perhaps too heavy, complicated and anthropological for them. Yet the “Siberian Symphony, section 1.” contained the essence of all my future activities and was, I felt, a wider understanding of what Fluxus could be.. ..(the Fluxus artists) held a mirror up to people without indicating how to change things. This is not to belittle what they did achieve in the way of indicating connections in life and how art could develop."

"Only then would the insistence on participation of the action art of FLUXUS and Happening be fulfilled; only then would democracy be fully realized. Only a conception of art revolutionized to this degree can turn into a politically productive force, coursing through each person, and shaping history."

"The misunderstandings have seemed to come from comparing fluxus with movements or groups whose individuals ‘have had some principle in common, or an agreed-upon program. In fluxus there has never been any attempt to agree on aims or methods; individuals with something unnameable in common have simply naturally coalesced to publish and perform their work. Perhaps this common something is a feeling that the bounds of art are much wider than they have conventionally seemed, or that art and certain long-established bounds are no longer very useful. At any rate, individuals in europe, the us, and japan have discovered each other’s work and found it nourishing (or something) and have grown objects and events which are original, and often uncategorizable, in a strange new way."

"Purge the world of bourgeois sickness, ‘intellectual’, professional & commercialized culture ... PROMOTE A REVOLUTIONARY FLOOD AND TIDE IN ART, ... promote NON ART REALITY to be grasped by all peoples, not only critics, dilettantes and professionals ... FUSE the cadres of cultural, social & political revolutionaries into united front & action.""

"fluxus is the “event” according to george brecht:"

"The idea of an art world forms the backbone of my analysis. "Art world" is commonly used by writers on the arts in a loose and metaphoric way, mostly to refer to the most fashionable people associated with those newsworthy objects and events that command astronomical prices. I have used the term in a more technical way, to denote the the network of people whose cooperative activity, organized via their joint knowledge of conventional means of doing things, produce(s) the kind of art works that art world is noted for."

"[Art worlds] consist of all the people whose activities are necessary to the production of the characteristic works which that world, and perhaps others as well, define as art."

"Women had to work like slaves in the art world, but a lot of men got to the top through their charm. And it hurt them. To be young and pretty didn't help a woman in the art world, because the social scene, and the buying scene, was in the hands of women – women who had money. They wanted male artists who would come alone and be their charming guests. Rothko could be very charming. It was a court. And the artist buffoons came to the court to entertain, to charm. Now it has changed, now the younger men are in – older women and younger men."

"The fine art world and the commercial art industry are both all about money. It's hard to say which is more contemptible: the fine art world with its double talk and pretensions to the cultural high ground, or the world of commercial art trying to sell to the largest mass market it can reach. A serious artist really shouldn't be too deeply involved in either of these worlds. It's best to be on the fringe of them. In general, if you want to be a success and make the money, you have to play the game. It's no different in the fine art world, it's just a slightly different game. Essentially, you're marketing an illusion. It's much easier to lie to humans and trick them than to tell them the truth. They'd much rather be bamboozled than be told the truth, because the way to trick them is to flatter them and tell them what they want to hear, to reinforce their existing illusions. They don't want to know the truth. Truth is a bring-down, a bummer, or it's just too complicated, too much mental work to grasp."

"The media, the galleries, the collectors – it's all very chaotic actually. The artworld doesn't have this defined corporate structure that people imagine. Of course there's a system of sorts. This person will talk to that person and somebody else will pass it on to somebody else... you can trace a line of power of some kind. But its nothing like as clear and set as people think. And this chaos leads to a lot of insecurity. It's only after an artist has achieved some independence from it that he MODERN PAINTERS can really stand up to the collectors and the dealers and do his art."

"There are certain figures in the arts who, although minor in accomplishment and equivocal in their aesthetic influence, are so completely representative of the spirit of their age...."

"The general ignorance of the visual arts, especially their theoretical bases, deplorable even in the so-called intellectual world; the artist’s well-founded despair of ever reaching the mythical “masses” with “advanced art”; the resulting ghetto mentality predominant in the narrow and incestuous art world itself, with its resentful reliance on a very small group of dealers, curators, critics, editors, and collectors who are all too frequently and often unknowingly bound by invisible apron strings to the “real world’s” power structure—all of these factors may make it unlikely that conceptual art will be any better equipped to affect the world any differently than, or even as much as, its less ephemeral counterparts."

"Ever since 1953, when Russell Kirk produced its intellectual coat of arms, conservatism has been "what Edmund Burke wrote." This is the equivalent of Arthur Danto’s institutional theory of art — art is whatever the art world says it is. But it’s also a cop-out. Instead of analyzing conservatism in an Aristotelian way, instead of asking how we use the term in real life, we just describe Burke. In the process, don’t we risk fleeing into what Tanenhaus calls an "alternative universe"? If conservatives are "glaringly disconnected from the realities now besetting America," as Tanenhaus says, why is the solution to be more like a man who wore a powdered wig? Liberals have problems of their own, but, to their credit, they don’t sit around debating whether Hillary Clinton or John Edwards is the "real Rousseauian.""

"The current demoralization of the art world is attributable at least in part to museum interference, ideological and practical, with ongoing creation in art."

"I don't like a lot of the stuff that goes on in the art world, but it's hard to be old and like what goes on around you. Anyway, the real point is that the things that don't seem to me to be pictorially informed are not so interesting to me."

"... a loose network of overlapping subcultures held together by a belief in art. They span the globe but cluster in art capitals like New York, London, Los Angeles, and Berlin."

"The art world is really exactly the same as the sex industry: you have to be completely on guard, you will get shafted, fucked over left, right and centre. And you will also meet charming, wonderful people like a rainbow at the end of the day."

"China is an old nation with a colourful history. Its booming economy has triggered an appetite and a curiosity around the world for its art and culture, one that continues to grow. I can, however, tell people that it is a show with no actor."

"The art world is run by a few very extremely, um, privileged people and is ultimately corrupt and barren of any context."

"[Folk art, consists of] work done by ordinary people in the course of their lives, work seldom thought of by those who make or use it as art at all."

"Folk art signifies the poetical, musical, and pictorial activities of those strata of the population which are uneducated and not urbanized or industrialized. It is of the essence of this art that those who keep it in being are not only passively receptive, but normally are creative participants in the artistic activities, and yet do not stand out as individuals or claim any personal authorship of the productions. "Popular art" on the other hand is to be understood as artistic or quasi-artistic production for the demand of a half-educated public, generally urban and inclined to mass-behavior. In folk art, producers and consumers are hardly distinguished, and the boundary between them is always fluid; in the case of popular art, we find on the contrary an artistically uncreative, completely passive public, and professional production of artistic goods strictly in response to the demand for them. It is indeed a striking fact that folk art, especially folk-poetry, emerges from the ranks of those who enjoy it, whereas popular songs--the street-ballads and popular "hits" — derive from professionals belonging to and spiritually dependent upon the upper classes."

"It is said that my art has some typically Nordic features: the curving lines, the convolutions, the magical masks and staring eyes that appear in myths and folk art. This may be. My interest in the dynamics of Jugend style probably also comes into it."

"Courses were offered in such fields as nineteenth-century black history and Hispanic-American folk art. The activists made a peculiar claim for these classes. They insisted that the courses would alleviate the cultural anxiety of nonwhite students by permitting them to stay in touch with their home culture. The perspective gained in the classroom or the library does indeed permit an academic to draw nearer to and understand better the culture of the alien poor. But the academic is brought closer to lower-class culture because of his very distance from it. Leisured, and skilled at abstracting from immediate experience, the scholar is able to see how aspects of individual experience constitute a culture. By contrast, the poor have neither the inclination nor the skill to imagine their lives so abstractly."

"...distinctive manner which permits the grouping of works into related categories."

"...any distinctive, and therefore recognizable, way in which an act is performed or an artifact made or ought to be performed and made."

"We do not exactly know the sociological reason for reverence for the past; it may be rooted in tribal and famly 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."

"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."

"The subject of industrial design is one of three important practical co-related subjects which should be taught in public schools, and to which practice and skill in drawing should be applied. Satisfactory results in this subject, however, depend entirely upon the manner in which it is taught. Instruction in industrial design means a clear presentation of the principles which obtain in the construction and harmonious arrangement of geometric form for decorative purposes, the proper use of plant forms in ornamental arrangements, and the principles of good taste to be found in the great history styles of art."

"Attempts to juggle domestic responsibilities with artistic production have often resulted in smaller bodies of work, and often works smaller in scale, than those produced by male contemporaries. Yet art history continues to privilege prodigious output and monumental scale or conception over the selective and the intimate."

"Edward G. Robinson: Who knows, the woman who posed for the Mona Lisa might have been the evilest woman in the world."

"Throughout history, most artists created paintings, sculptures, and other objects for specific patrons and settings and to fulfill a specific purpose, even if today no one knows the original contexts of those artworks. Museum visitors can appreciate the visual and tactile qualities of these objects, but they cannot understand why they were made or why they appear as they do without knowing the circumstances of their creation. Art appreciation does not require knowledge of the historical context of an artwork (or a building). Art history does."

"The history of art can be a history of artists and their works, of styles and stylistic change, of materials and techniques, of images and themes and their meanings, and of contexts and cultures and patrons. The best art historians analyze artworks from many viewpoints. But no art historian (or scholar in any other field), no matter how broad-minded in approach and no matter how experienced, can be truly objective. As were the artists who made the works illustrated and discussed in this book, art historians are members of a society, participants in its culture. How can scholars (and museum visitors and travelers to foreign locales) comprehend cultures unlike their own? They can try to reconstruct the original cultural contexts of artworks, but they are limited by their distance from the thought patterns of the cultures they study and by the obstructions to understanding—the assumptions, presuppositions, and prejudices peculiar to their own culture—their own thought patterns raise. Art historians may reconstruct a distorted picture of the past because of culture-bound blindness."

"It's a tour of the gay art history of the Vatican, so it's telling the backstory of a lot of the artists who did happen to be gay and talking a little bit about the eroticism of the art, which is very prevalent and very obvious but left out in the typical, kind of staid and, let's be honest, boring standard Vatican tour."

"Abstract art as it is conceived at present is a game bequeathed to painting and sculpture by art history. One who accepts its premises must consent to limit his imagination to a depressing casuistry regarding the formal requirements of modernism."

"One cannot, however, avoid saying a few words about individuals who lay down the law to art in the name of art history. Art criticism today is beset by art historians turned inside out to function as prophets of so-called inevitable trends. A determinism similar to that projected into the evolution of past styles is clamped upon art in the making. In this parody of art history, value judgments are deduced from a presumed logic of development, and an ultimatum is issued to artists either to accommodate themselves to these values or be banned from the art of the future."

"The new attitude of the critic toward the artist has been rationalized for me by a leading European art historian who is also an influential critic of current art. It is based on a theory of division of labor in making art history. The historian, he contends, knows art history and, in fact, creates it; the artist knows only how to do things. Left to himself, the artist is almost certain to do the wrong thing — to deviate from the line of art history and thus to plunge into oblivion. The critic's role is to steer him in the proper direction and advise changes in his technique and subject matter that will coordinate his efforts with the forces of development. Better still, critics should formulate historically valid projects for artists to carry out. That not all critics have the same expectations of the future of art does not, I realize, weaken the cogency of my colleague's argument. The surviving artist would be one who has been lucky enough to pick the winning critic. My own view that art should be left to artists seemed to my mentor both out-of-date and irresponsible."

"I guess a school of thought would be you don’t have to see anything of the past to express yourself artistically, to write a novel or to write a play or to make films but I think if you make it available, I think one studies or one becomes aware of the older work that came before. Of the older masters - easy if you want to reject it, which is part of the process, to be angry to say “That’s impossible, it’s no good at all look at this, this is wonderful here.” And then come back to realizing maybe I’m a little too harsh twenty years later or thirty years later, I’m a little too harsh on certain people when I was younger."

"But I do think it’s important to make younger people aware of what came before in every aspect of every art form. And it’s exciting too, and as you do that very often if you’re working with young people and working with students. I use mentoring, the idea is you do get a lot out of it. I do get a kind of regeneration of that, to see that excitement sometimes, to show, let’s say The Magic Box or Yojimbo - it’s part of being alive."

"The bizarre but all too common transformation of the woman artist from a producer in her own right into a subject for representation forms a leitmotif in the history of art. Confounding subject and object, it undermines the speaking position of the individual woman artist by generalizing her. Denied her individuality, she is displaced from being a producer and becomes instead a sign for male creativity."

"The museums are here to teach the history of art and something more as well, for, if they stimulate in the weak a desire to imitate, they furnish the strong with the means of their emancipation."

"Mannerism came so late into the foreground of research on the history of art, that the depreciatory verdict implied in its very name is often still taken to be adequate, and the unprejudiced conception of this style as a purely historical category has be."

"Asked to submit something for display by the Society of Independent Artists in New York [in 1917], Duchamp sent a urinal. Duchamp of course knew the history of art. He knew what had been achieved—how over the centuries art had been a powerful vehicle that called upon the highest development of the human creative vision and demanded exacting technical skill; and he knew that art had an awesome power to exalt the senses, the intellects, and the passions of those who experience it. Duchamp reflected on the history of art and decided to make a statement. The artist is a not great creator—Duchamp went shopping at a plumbing store. The artwork is not a special object—it was mass-produced in a factory. The experience of art is not exciting and ennobling—at best it is puzzling and mostly leaves one with a sense of distaste. But over and above that, Duchamp did not select just any ready-made object to display. In selecting the urinal, his message was clear: Art is something you piss on."

"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."

"In ceasing to subordinate creative power to any supreme value, modern art has brought home to us the presence of that creative power throughout the whole history of art."

"There's a machine which is called History of Art, which is a structure. And artist fits in this only because he or she is needed for this structure. If for example the History of Art needs some parallel lines, there is an individual who makes parallel lines. And this individual fits into this machine which works by itself; it doesn't care about people or anything else, it just goes by itself."

"The aim of courtly art is to produce representative objects. This art is created individually by artists invited to royal or magnate courts, but received collectively, by the court. Sacral and courtly art are part of everyday practice, part of the religious courtly life, which fundamentally distinguishes both these forms of art from autonomous art."

"The stereotyped style of cultic representations was well known as early as the Neolithic age, but the stiffly ceremonial forms of courtly art are absolutely new and come into prominence here for the first time in the history of human culture. They reflect the rule of a higher, superindividual social order, of a world which owes its greatness and splendour to the favour of the king. They are anti-individualistic, static and conventional... All the good things and the charms of life are connected, for the privileged members of this society, with their separation from the other classes, and all the maxims which they follow assume more or less the character of rules of decorum and etiquette. This decorum and etiquette, the whole self-stylization of the upper class, demand among other things that one does not allow oneself to be portrayed as one really is, but according to how one must appear to conform with certain hallowed conventions, remote from reality and the present time. Etiquette is the highest law not merely for the ordinary mortal, but also for the king, and in the imagination of this society even the gods accept the forms of courtly ceremonial."

"The term 'courtly art' had already been introduced by Lavachery in describing Lunda art. The originality of courtly art lies in its ability to integrate diversified techniques and sources of inspiration. The first contribution comes from popular artistic tradition, notably in the form of a very elaborate, basketwork technique, as evidenced by the circumcision masks."

"Our knowledge of courtly art and entertainment has recently enjoyed a remarkable advancement as a result of this trend. Great interest in courtly art has been reflected, for instance, in a number of medievalist studies, Angus Fletcher's The Transcendental Masque (its first three chapters are as good a prolegomenon for the study of Renaissance courtly art as I know of), the Inigo Jones quatercentenary in 1973, the works of Roy Strong and Stephen Orgel, the Fetes de la Renaissance series edited by Jean Jacquot, and the facsimile reprinting of many important iconologies and other texts on fine arts in the Renaissance."

"The central and most general preoccupation of courtly art is the praise and encouragement of a healthy civitas ox polis."

"Writing an upbeat aphorism is a temptation, but decorum forbids."

"The stereotyped style of cultic representations was well known as early as the Neolithic age, but the stiffly ceremonial forms of courtly art are absolutely new and come into prominence here for the first time in the history of human culture. They reflect the rule of a higher, superindividual social order, of a world which owes its greatness and splendour to the favour of the king. They are anti-individualistic, static and conventional... All the good things and the charms of life are connected, for the privileged members of this society, with their separation from the other classes, and all the maxims which they follow assume more or less the character of rules of decorum and etiquette. This decorum and etiquette, the whole self-stylization of the upper class, demand among other things that one does not allow oneself to be portrayed as one really is, but according to how one must appear to conform with certain hallowed conventions, remote from reality and the present time. Etiquette is the highest law not merely for the ordinary mortal, but also for the king, and in the imagination of this society even the gods accept the forms of courtly ceremonial."

"There are men who live contented through they live without decorum. Others suffer as if in agony when they see around them people living without decorum. There must be a certain amount of decorum in the world, just as there must be a certain amount of light. When there are many men without decorum, there are always others who themselves possess the decorum of many men. These are the ones who rebel with terrible strength against those who rob nations of their liberty, which is to rob men of their decorum. Embodied in those men are thousands of men, a whole people, human dignity."

"Whatever is contrary, bonos mores est decorum, the principles of our law prohibit, and the King's Court, as the general censor and guardian of the public manners, is bound to restrain and punish."

"If in some smothering dreams you too could pace Behind the wagon that we flung him in, And watch the white eyes writhing in his face, His hanging face, like a devil's sick of sin; If you could hear, at every jolt, the blood Come gargling from the froth-corrupted lungs, Obscene as cancer, bitter as the cud Of vile, incurable sores on innocent tongues, — My friend, you would not tell with such high zest To children ardent for some desperate glory, The old Lie: Dulce et decorum est Pro patria mori."

"There are moments when Caterina is Duchampian with the digital medium, as in “UFOp (Unidentified Flying Objects Poetry)” (1999) and in “Poem in Red” (2004). You can think of Davinio’s work as something resembling the imagination without wires and the Words in Freedom, the second phase of the Italian Futurism (from 1909 to 1914), because she retrieves this technique and applies it in the digital realization of her videopoems, net poetry, in the structure of Karenina.it."

"The shape and direction of video art's accelerated growth, since virtual nonexistence in the mid-'60s up to the present, has been influenced primarily by the priorities of major funders-the New York State Council on the Arts, the Rockefeller Foundation, the National Endowment for the Arts, among others . It has matured without the bevy of individual collectors who support more established forms such as painting and sculpture. Within video's media arts centers and funding organizations, there are many advocates, administrators, and curators who provide an infrastructure which enables artists to produce and distribute work, often doing so with little publicity or recognition. In this realm, Howard Wise stands out as an individual benefactor who preceded and has supplemented private foundations and public monies. He has been a central figure in the visibility, production, and acceptance of video art. For almost 20 years, he has been one of the few patrons of video art."

"I make installations and the final result is a video projection and the photograph. If I didn’t make video projections, then call me one thing; if I didn’t make photos, then call me another. I’m in between an installation artist, video artist and photographer. And when you work with nude bodies, you’re immediately called a pornographer or a fashion photographer."

"When I started in video I was one of two or three dozen video artists in 1970. And now, to paraphrase Andy Warhol, everyone's a video artist. Video, through your cellphone and camcorder, has become a form of speech, and speech is not James Joyce. It's great, and to be celebrated, but it has to find its own level."

"How can art be realized?"

"Space and time are the only forms on which life is built and hence art must be constructed... The realisation of our perceptions of the world in the forms of space and time is the only aim of our pictorial and plastic art... We renounce the thousand-year-old delusion in art that held the static rhythms as the only elements of the plastic and pictorial arts. We affirm in these arts a new element, the kinetic rhythms as the basic forms of our perception of real time."

"Nicolas Schöffer (1912–1992) formulated his idea of a kinetic art that was not only active and reactive, like the work of his contemporaries, but also autonomous and proactive, in Paris in the 1950s. He developed sculptural concepts he called Spatiodynamism (1948)."

"Kinetic art was created by artists who pushed the boundaries of traditional, static art forms to introduce visual experiences that would engage the audience and profoundly change the course of modern art."

"In the 1960s the works of and Tinguely were experiments with different forces, both magnetic and kinetic. My work differed from theirs, for although my kinetic art works used machines, the works themselves moved in random organic ways and avoided the monotonous repetitive movements of most machines. My land art projects and all the rest of my cosmic propulsions were born out of the organic and my relation with the dynamics of nature. When I first exhibited with Liliane Lijn at the Indica Gallery in London in 1967 I called my artworks bio-kinetic sculptures. Some of my artworks in that show are featured in the film I’ll Never Forget What’s’isname by the English director Michael Winner."

"What is the significance of viewer participation in your work? It has to do with kinetic art. Kinetic art has very much to do with the interaction between spectator and art. In the second half of the ’50s, this became a big international movement. When I moved from painting to connections within media, this came through in the first work, which was an exhibition of found cardboard pieces. It was a turning point for me. The world itself, the industrial fabricated world, could stand for the man-made world of art."

"Kinetic art is manifest in a rich variety of ways from floating mobiles to thumping mechanics, each sharing a common focus, an aesthetic of movement. For architecture the current motivation for kinetic facades tends to be utilitarian, but the instinct that drives this enquiry is the potential for poetic composition."

"While aesthetics generated by movement can be traced back to ancient wind chimes, the beginning of kinetic art is associated with avant-garde experimentation of the early twentieth century. The generally acknowledged starting point is Naum Gabo’s 1920 publication of the realist manifesto and his exhibition of Virtual Kinetic Volume in the same year. Kinetic art explicitly introduced the temporal dimension into art, and movement was incorporated into works hung and framed as conventional paintings, freestanding sculpture both in and outside the gallery, machine works, and installations at a range of scales. With Alexander Calder’s exhibition of mobiles in Paris and New York in 1932, the genre received heightened exposure. He dominated the pre-war period with a series of developments on the mobile theme, while the most prolific period for kinetic art was during the 1950s and 1960s. In addition to the continuing popularity of Calder, prominent artists include Schoeffer, , Len Lye and George Rickey."

"One of the main reasons for my interest early on in the art and technology relationship was that during my studies of movement and light in art I was struck by the technical components in this art. Contrary to most, if not all, specialists in the field who put the stress on purely plastic issues and in the first place on the constructivist tradition, I was convinced that the technical and technological elements played a decisive part in this art. One almost paradoxical experience was my encounter with the kinetic artist and author of the book Constructivism, George Rickey, and my discovery of the most subtle technical movements in his mobile sculptures. But what seemed to me still more decisive for my option towards the art and technology problematic was the encounter in the early 1950s with artists like Nicholas Schöffer and Frank Malina whose works were based on some first hand or second hand scientific knowledge and who effectively or symbolically employed contemporary technological elements that gave their works a prospective cultural meaning. The same sentiment prevailed in me when I encountered similar artistic endeavors from the 1950s onwards in the works of Piotr Kowalski, Roy Ascott and many others which confirmed me in the aesthetic option I had taken, particularly when I discovered that this option was not antinomic (contradictory) to another aspect of the creative works of the time, i.e. spectator participation."

"The old art depicted space as uniform and enclosed. The new art perceives space as organic and open. The old art was an object. The new art is a system. The configuration of the movement is more important than the shape of the object. The message of a kinetic and luminic work is the light and movement it produces. It has no other message. It has no meaning besides movement."

"THE ONLY STABLE THING IS MOVEMENT"

"The science is dealing with physical facts; in art we are dealing with psychic effects. With this I come to my first statement: The source of art – that is, where it comes from – is the discrepancy between physical fact and psychic effect. That's what I'm talking about. When I want to speak about why I am doing the same thing now, which is squares, for – how long? – 19 years. Because there is no final solution in any visual formulation.. .I have some assurances that that is not the most stupid thing to do, through Cézanne whom I consider as one of the greatest painters.."

"It is not the subject which matters but the translation of the subject into the abstraction of the surface by means of painting. Therefore I hardly need to abstract things, for each object is unreal enough already, so unreal that I can only make it real by means of painting."

"The word 'abstract' comes from the light tower of the philosophers.. ..and it seems to be one of their spotlights that they have particularly focused [sic] on 'Art.' So the artist is always lighted up by it. As soon as it — I mean the 'abstract' — comes into painting, it ceases to be what it is as it is written. It changes into a feeling which could be explained by some other words, probably. ..[abstraction was] not so much what you could paint but rather what you could not paint. You could not paint a house or a tree or a mountain. It was then that subject matter came into existence as something you ought not have."

"The beauty of comfort.. .To compose with curves like that, and angles, and make works of art with them could only make people happy, they maintained, for the only association was one of comfort.. .This pure form of comfort became the comfort of 'pure form.' The 'nothing' part in a painting until then—the part that was not painted but that was there because of the things in the picture which were painted—had a lot of descriptive labels attached to it like 'beauty,' 'lyric,' 'form,' 'profound,' 'space,' 'expression,' 'classic,' 'feeling,' 'epic,' 'romantic,' 'pure,' 'balance,' etc. Anyhow that 'nothing' which was always recognized as a particular something—and as something particular—they generalized, with their book-keeping minds, into circles and squares. They had the innocent idea that the "something" existed 'in spite of' and not 'because of' and that this something was the only thing that truly mattered."

"Remember that a picture, before being a battle horse, a nude, an anecdote or whatnot, is essentially a flat surface covered with colours assembled in a certain order."

"Total abstraction was something intellectual to me. I didn't feel it; I could talk about Mondrian but it didn't occur to me to do it. [around 1950]. I saw a Dubuffet show at w:Pierre Matisse [son of Henri Matisse who run an art-gallery in New York then] in the late forties and came back with a new vocabulary. Also when Baziotes won the Carnegie (1948) there was a reproduction in the Times. I remember bringing it to class. It was source of bewilderment, delineated configurations that seemed to come out of Cubism. It was something new."

"When you first saw a Cubist or Impressionist picture there was a whole way of instructing the eye of the subconscious. Dabs of color had to stand for real things; it was an abstraction of a guitar or of a hillside. The opposite is going on now [in 1960's]. If you have bands of blue, green and pink, the mind doesn't think sky, grass and flesh. These are colors and the question is what are they doing with themselves and with each other. Sentiment and nuance are being squeezed out so that if something is not altogether flatly painted then there might be a hint of edge, chiaroscuro, shadow and if one wants just that pure thing these associations get in the way."

"The gesture today [c. 1965 in America] is surely more purely abstract than it was. There is a certain moment when one can look so pure that the result is emptiness – many readings of a work of art are eliminated and you are left with one note that may be real and pure but it’s only that, one shaft. For example, the best Mondrian's, Newman's, Noland's, or w:Louis Morris' are deep and beautiful and get better and better. But I think that many of the camp followers are empty."

"You use things; the idea is, of course, to eliminate things [in making a picture]. And just as fifteen or eighteen years ago [when Guston made whole figurative series of children's pictures: 'all sort of props and so on'] I stretched out to get that, - put it in and took it out - to get that look in that's kid's eye and the way his mouth was open or wasn't - I mean a very particular kind of look - I'd do the same now. In other words, I can't find any freedom in abstract painting [but Guston still did 'abstract painting' in 1960, the year of this interview - only after 1967 he moved to figuration]. I'am just as stuck with locations, a few areas of colour in relation to some kind of totality that I want, as I was before. And so the problem of figuration is somehow irrelevant to me. I think some of the best painting done in New York today is figuration, but it's not recognized as such.. .Well I think of my [abstract] pictures as a kind of figuration.. .I think every good painter here in New York really paints a self-portrait.."

"The more horrible this world (as today, for instance) [first year of World War 1.], the more abstract our art, whereas a happy world brings forth an art of the here and now."

"Abstractions and references must be totally avoided. In our freedom of invention we must succeed in constructing a world that can be measured only in its own terms. We absolutely cannot consider the picture as a space onto which to project our mental scenography. It is the area of freedom in which we search for the discovery of our first images. Images which are absolute as possible, which cannot be valued for that which they record, explain and express, but only for that which they are to be."

"It is clear to me that this [ De Stijl art] is art for the future. Futurism, although it has advanced beyond naturalism, occupies itself too much with human sensations. Cubism – which in its content is still too much concerned with earlier aesthetic products, and thus less rooted in its own time than Futurism – Cubism has taken a giant step in the direction of abstraction, and is in this respect of its own time and of the future. Thus in its content it is not modern, but in its effect it is."

"Neo-Plasticism has its roots in Cubism. It could just as easy be called the Painting of Real Abstraction. Since the abstract can be expressed by a plastic reality.. .It achieves what all painting has tried to achieve but has been able to express only in a veiled manner. By their position and their dimension as well as by the importance of given to colour, the coloured planes express in a plastic way only relations and not forms. Neo-Plasticism imparts to these relations an aesthetic balance and thereby expresses universal harmony [quote in 1921-23]."

"Observing sea, sky and stars, I sought to indicate their plastic function through a multiplicity of crossing verticals and horizontals. Impressed by the vastness of Nature, I was trying to express its expansion, rest and unity."

"By the unification of architecture, sculpture and painting a new plastic reality will be created."

"Somehow it doesn't seem long since I trudged in a picket-line; in the street here, and in the rain. A fairly muted demonstration against the Museum, which wasn't always in a mood for showing abstract paintings by Americans. It was fun I suppose-needless to say, the picketing produced no results. Yet a majority of the picketers are visible through their works at the moment, upstairs on the third floor, where it's warm and out of the rain. However, this is no time to celebrate in fact it's better if artists never celebrate. New abstract picket-lines are doubtless assembling, to protest the former picketers."

"Before 1940 there was relatively little abstract art in America. Most of it was relatively geometric versions of Cubism, or of Mondrian and De Stijl, or of Arp reliefs, and the like. So that when our painting [of the artists of the New York School: Abstract Expressionism first appeared, the critics at once realized that to describe it as abstract [art] would be misleading."

"'To abstract' something implies one of those mental activities (in contrast to emotional spontaneity) through which certain [aesthetic] values are isolated from the world of reality. However, when such values were realized visually and applied as purely constructive means, they became real. Thus the abstract was transformed into the real, thereby illustrating the relativity of the former term.. .The period of abstraction is at an end. Is not an elementary painting, which is to say a certain composition of plane-linear colours, organic in itself, more concrete?"

"I discovered soon that teaching has the handicap of retrospection. And that I don't believe in. So I started instead a method of handling material with the material itself. So that was my main change. Whereas Itten before (Itten left the Bauhaus in 1923 and Albers followed him as art teacher, ed.) had only spoken about the appearance, "matiere" - (the French word) and I said I would turn from "matiere" - the outside - to the inside, to the capacity of the material, before the appearance. And that changed the attitude basically I think."

"To be a teacher is my greatest work of art. The rest is the waste product, a demonstration. If you want to express yourself you must present something tangible. But after a while this has only the function of a historic document. Objects aren't very important any more. I want to get to the origin of matter, to the thought behind it."

"The subject of industrial design is one of three important practical co-related subjects which should be taught in public schools, and to which practice and skill in drawing should be applied. Satisfactory results in this subject, however, depend entirely upon the manner in which it is taught. Instruction in industrial design means a clear presentation of the principles which obtain in the construction and harmonious arrangement of geometric form for decorative purposes, the proper use of plant forms in ornamental arrangements, and the principles of good taste to be found in the great history styles of art."

"Fine Art then, records by idealised imitation the glorious works of good men, whilst it holds those of bad men up to our abhorrence — it gives to posterity their images, either on the tinted canvass or the sculptured marble — it imitates the beautiful effects of nature as seen in the glowing landscape or the rising storm, and perpetuates the appearance of those beauteous gems of the seasons — flowers and fruits, which, though fading whilst the painter catches their tints, yet live after decay by and through his genius. Industrial Art, on the contrary, aims at the embellishment of the works of man, by and through that power which is given to the artist for the investigation of the beautiful in nature; and in transferring it to the loom, the printing machine, the potter's wheel, or the metal worker's mould, he reproduces nature in a new form, adapting it to his purpose by an intelligence arising out of his knowledge as an artist and as a workman. In short, the adaptation of the natural type to a new material compels him to reproduce, almost create, as well as imitate — invent as well as copy — design as well as draw!"

"One wonders how the literary revisionists and canon cleansers can bear to take the money. Imagine a school of sixteenth century art criticism that spent its time contently jeering at the past for not knowing about perspective."

"It didn’t pay very much, but it enabled me to get other jobs doing art criticism, which I didn’t want to do very much, but as so often when you exhibit reluctance to do something, people think you must be very good at it. If I had set out to be an art critic, I might never have succeeded."

"La critique est aisée, et l'art est difficile."

"In many ways, the work of a critic is easy. We risk very little yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the new. The world is often unkind to new talent, new creations, the new needs friends... Not everyone can become a great artist, but a great artist can come from anywhere."

"About ten degrees upslope of Fiction, I could see our nearest neighbor: Artistic Criticism. It was an exceptionally beautiful island, yet deeply troubled, confused and suffused with a blanketing layer of almost impenetrable bullshit."

"Évidemment, les critiques n'ont été créés que le septième jour. S'ils avaient été créés le premier, qu'auraient-ils eu à faire?"

"We must grant the artist his subject, his idea, his donné: our criticism is applied only to what he makes of it."

"When a twelfth-century youth fell in love he did not take three paces backward, gaze into her eyes, and tell her she was too beautiful to live. He said he would step outside and see about it. And if, when he got out, he met a man and broke his head—the other man's head, I mean—then that proved that his—the first fellow's—girl was a pretty girl. But if the other fellow broke his head—not his own, you know, but the other fellow's—the other fellow to the second fellow, that is, because of course the other fellow would only be the other fellow to him, not the first fellow who—well, if he broke his head, then his girl—not the other fellow's, but the fellow who was the—Look here, if A broke B's head, then A's girl was a pretty girl; but if B broke A's head, then A's girl wasn't a pretty girl, but B's girl was. That was their method of conducting art criticism."

"In schools, for example, there are courses in the criticism of literature, art criticism, and so forth. The arts are supposed to be 'not real.' It is quite safe, therefore, to criticize them in that regard -- to see how a story or a painting is constructed, or more importantly, to critically analyze the structure of ideas, themes, or beliefs that appear, say, in the poem or work of fiction. When children are taught science, there is no criticism allowed. They are told, 'This is how things are.' Science's reasons are given as the only true statements about reality, with which no student is expected to quarrel. Any strong intellectual explorations or counter versions of reality have appeared in science fiction, for example. Here scientists, many being science-fiction buffs, can channel their own intellectual questioning into a safe form. 'This is, after all, merely imaginative and not to be taken seriously.'"

"One cannot, however, avoid saying a few words about individuals who lay down the law to art in the name of art history. Art criticism today is beset by art historians turned inside out to function as prophets of so-called inevitable trends. A determinism similar to that projected into the evolution of past styles is clamped upon art in the making. In this parody of art history, value judgments are deduced from a presumed logic of development, and an ultimatum is issued to artists either to accommodate themselves to these values or be banned from the art of the future."

"In 1968 the American critic Jack Burnham published Beyond Modern Sculpture, the first of a series of books and articles on contemporary sculpture produced over the following five years that attempted to establish a post-formalist discourse. The culmination of this project was the exhibition Software staged at the Jewish Museum in New York in 1970 and Burnham’s theoretical treatise The Structure of Art, which was perhaps the first sustained attempt to provide a model of structuralist art criticism and theory. At the root of Burnham’s project were two inter-related concerns; the first, a quasi-determinist notion that the historical development of sculptural practice during the 20th century was the consequence of scientific and technological innovations and, second, a notion that traditional art historical terminology was inadequate to its critical analysis."

"The most useful criticism in any art [form] is new work done with the same tools [as previous art]."

"Every day, there's another story about fiber-optic technology, 500 channels, video on demand,' says Greg Fairbanks, (Blockbuster's) chief financial officer. Those developments may someday allow viewers to choose from hundreds of movies that would be delivered to TVs over cable or phone lines at any time. That could eliminate the need for a trip to the video store — and, to hear some tell it, eliminate Blockbuster. 'But those stories just complicate our story."

"Prior to tape recording technology, most television programs were broadcast live with no recording or archiving. Film was used for some events and broadcasts, but it was expensive. This fundamentally changed the approach of television stations, enabling them to record shows, and also to archive and re-broadcast them as repeats. However, VCRs also shook up the entertainment industry in other ways. Actors and writers went on strike in 1985 over the percentage paid to them for work released on video. VCRs were also blamed for reducing movie theatre attendance and putting a damper on box-office takings over the 1985 summer season."

"In 1981, only 3% of Australian households (or 150,000 homes) had a VCR. That number rose quickly, and by 1993 80% of Australian households (4.5 million homes) had a VCR. One reason for the rapid uptake was the dramatic drop in price of VCR technology. In 1976, the average price of a VCR was A$4,684 (A$8,838 in today’s dollars). By 1993, the average price was less than 10% of the 1976 price, at A$446 (A$842 in today’s money). The number of movies available also skyrocketed, from a measly two films in 1978 to 33,000 titles in 1993."

"Countries which do not have the facilities and resources to produce films for theatrical release are using video format to reach their audiences. As shown in Table 6, Nigeria–with an average production of 1,000 movies per year –is the third largest producer in terms of volume. As a result of new technology and video production, the emergence of new film producers, such as Mauritius, has been possible. While the country did not produce any feature films before 2009, Mauritius increased its production from 19 to 30 films between 2010 and 2011."

"As one industry insider argued, "Saving Private Ryan suffers on [video] cassette. If you see it at home, you are by no means as impressed with it as you were in the movie theater. And Shakespeare in Love is a more intimate picture, it plays well on cassette. It may actually be enhanced by watching it at home."" In response, Dreamworks' marketing chief, Terry Press countered: "That goes to a larger issue. You're a member of the Motion Picture Academy, not the television video academy. These movies are meant to be seen in movie theaters, all of them. They're not meant to be stopped and started and paused when the phone rings or to feed the dog.""

"Every video I'm in, every magazine cover, they stretch you; they make you perfect. It's not real life."

"People want to watch whatever video they want to watch whenever they want to watch."

"I make videos."

"Blockbuster’s early value proposition when it opened its first store 25 years ago was relatively revolutionary, as it provided consumers local access to thousands of movie titles all in one place. It was by no means the first video rental company, but it achieved scale in a way no one else did, using its vast reach to dominate the video rental landscape and drive hundreds of local mom-and-pop video stores out of business. For many, Blockbuster provided the convenience of a one-stop shop for nearly any video title one would hope to watch. But over the years, viewers and viewing habits have changed in a way that made Blockbuster less relevant. It’s no longer enough to provide users with a way to get content from a store down the street; nowadays, they want access to that content in their living rooms. At first the mail, and then online video gave them that access."

"In a phenomenal growth spurt that has reshaped the $10-billion-a-year video business, Blockbuster has gone from 19 stores nationally to nearly 1,300 in three years...."

"When you see yourself on video, do you like what you see? I've yet to meet someone who says yes."

"When the first anime-genre videos were released in 1990-91 through mail order and direct sales to the comic-book fandom specialty stores, it was understood by this market that these were animated equivalents of movies like The Terminator and Die Hard, full of explosions, blood-'n-guts, adult dialogue, and often a brief risqué nude scene. Around 1994 the anime videos expanded into the major video mass-market chains and became accessible to the general public, which tends to assume automatically that all animated cartoons are safe for children. This resulted in the necessity for warning advisories on the video boxes such as "Contains violence and nudity;" "Contains brief nudity and mature situations. Parental discretion advised;" and, "Recommended for Mature Viewers." But these did not yet include explicit sexual titles."

"Japanese animated explicitly adult cartoons developed along with the general animated Direct-to-video market. The first Japanese Original Animated Video (OAV) title was a science-fiction drama, Dallos, released in December 1983. The third OAV release, on February 21, 1984, was Lolita Anime I: Yuki no Kurenai Kesho * Shojo Bara Kei (freely translated, Crimson Cosmetic on the Snow * Young Girls' Rose Punishment). This half-hour video, first in the short-lived Wonder Kids erotic anime series, consisted of two 15-minute dramas of rape and sadistic sexual torture/murder of schoolgirls, whose spirits exact a gruesome supernatural vengeance. Of the seventeen OAVs released during 1984, six were "general" and eleven were pornographic. In 1985, after the viability of the direct-video market for action-adventure anime had been established, the total was 28 action-adventure titles to just another eleven porno titles. The Japanese domestic OAV market has grown accordingly, over the past decade, with 1997's output of 162 "general" titles and 62 erotic titles (including some multiple volumes of series) being about the average ratio."

"Beginning with the 1984 presidential campaign, the neoconservative Reagan administration and the Christian Right accelerated their use of television and video imagery to capture political discourse- and power. Along with a new series of "Ron and Nancy" commercials, the Reverend Pat Robertson's "700 Club" (a kind of right-wing talk show), and a resurgence of Good versus Evil kiddie cartoons, American television and video viewers were bombarded with the newest "pro life" propaganda piece, The Silent Scream. The Silent Scream marked a dramatic shift in the contest over abortion imagery. With formidable cunning, it translated the still and by-now stale images of fetus as "baby" into real-time video, thus (1) giving those images an immediate interface with the electronic media; (2) transforming antiabortion rhetoric from a mainly religious/mystical to a medical/technological mode; and (3) bringing the fetal image "to life. "On major network television the fetus rose to instant stardom, as The Silent Scream and its impresario, Dr. Bernard Nathanson, were aired at least five different times in one month, and one well-known reporter, holding up a fetus in a jar before 10 million viewers, announced: "This thing being aborted, this potential person, sure looks like a baby! This statement is more than just propaganda; it encapsulates the "politics of style" dominating late capitalist culture, transforming "surface impressions" into the "whole message." The cult of appearances not only is the defining characteristic of national politics in the United States, but it is also nourished by the language and techniques of photo/video imagery. Aware of cultural trends, the current leadership of the antiabortion movement has made a conscious strategic shift from religious discourses and authorities to medicotechnical ones, in its effort to win over the courts, the legislatures, and popular hearts and minds. But the vehicle for this shift is not organized medicine directly but mass culture and its diffusion into reproductive technology through the video display terminal."

"All of the books in the world contain no more information than is broadcast as video in a single large American city in a single year. Not all bits have equal value."

"Just as the spinning and gathering of wool serve as the raw material for a weave, so the artist working with video selects images to serve as the basic substance of the work. All technology, in its capacity to instantly reproduce, store, and retrieve information, has moved continually in a direction that seeks to free us from laboring with our hands by giving us greater conceptual freedom to organize, select, and judge."

"Video killed the radio star."

"When I started in video I was one of two or three dozen video artists in 1970. And now, to paraphrase Andy Warhol, everyone's a video artist. Video, through your cellphone and camcorder, has become a form of speech, and speech is not James Joyce. It's great, and to be celebrated, but it has to find its own level."

"The launch of cable television redefined television in the 1980s. While there was an obvious audience for 24-hour news and movies, making CNN and HBO almost sure-things from launch, music videos weren't looked upon as having much value at all. When MTV launched with cheap music videos, nobody anticipated that it would revolutionise entertainment."

"Music videos were in short supply at the beginning of the 80s, so MTV played whatever they could get their hands on. Many record companies in America didn’t believe in MTV and weren’t willing to provide music videos at their own cost. A bulk of the music videos MTV played came from Europe where record companies made short promotional films for their artists to be played on video jukeboxes - a popular new piece of technology at the time. With only 250 music videos being played over a 24-hour period, the early artists of MTV got a lot of exposure thanks to a combination of repetition and desperation."

"While a polemical argument in prose may reach tens of thousands of the usual suspects - formally educated people who like to follow such texts - the video version reached far beyond that audience."

"For all the power of video and film, I am not giving up my pen. I am just much more likely to try to link essays to webcasts or videos. The best way for these two media to move forward, to inform and make change, is in tandem; together they are more than the sum of their parts."

"By 1990, movies were either rented or sold at much more reasonable prices directly to consumers (known as sell-through). Video rentals reached a plateau, but video sell-through sales continued to grow. By 1992, the value of video sell-through sales exceeded the domestic theatrical box office for the first time. Home video caused a significant downward shift in the box office; for instance, the domestic box office represented 80% of studio revenues in 1980, but by 1992 it decreased to no more than 25%."

"(Performance) art is, perhaps, the first art phenomenon to clearly demonstrate that modern art has become antiquated. Modern art is based upon a single assumption. That the artwork is only what it is. It is not a picture or a metaphor for something else. It is, say, a photograph, first and only. Or, perhaps, it is a painting, first and only. This assumption still looms above us all. We automatically accept it. We fall back upon it whenever we have a problem in criticizing, accepting, or understanding a work of art."

"My first concert - apart from Beethoven at School and Satie at the opening of my exhibition in Kleve in 1960 - was at the gallery Parnass in Wuppertal in 1963. Dressed like a regular pianist in dark grey flannel, black tie and no hat, I played the piano all over – not just the keys – with many pairs of old shoes until it disintegrated. My intention was neither destructive nor nihilistic. “Heal like with like” – similia similibus curantur – in the homeopathic sense. The main intention was to indicate a new beginning.. ..or simply a revolutionary act. This was my first public Fluxus appearance."

"If a performance artist started going on about England and our culture like that-in fact that's happened to Gilbert and George, they are about the only ones I know that have done anything of this sort. It seems to me that both yourself and other artists can talk about flags and America and all this… you can play with these ideas, you may not believe in it, that you can play such a close game with them without anyone being offended."

"THE LAWS OF SCULPTORS"

"Tami Peterson has always been hyper-critical of my performance art. I mean she even delivered a speech in the quad about it called "Imogene: What do You Mean?" I mean, how could she do that to me? I've always been so nice to her!"

"A walk down 14th street is more amazing than any masterpiece of art."

"T he psychedelic community has not yet recognized or named itself as a community. We are well behind gays and black people and all those other mi-...we are still trying to figure out if we are a community. And if we are a community, and we have a domain of action, I think where it lies - it's not that we are all supposed to become dope dealers, it's that we are all supposed to become artists; that the transformation of culture through art is the proper understanding of what you can do with psychedelics besides blow your own mind. And I really think, you know, what we need to do is put the art-pedal to the floor, and understand that this is art - we are involved in some kind of enormous piece of performance art called Western civilization and, you know, it's been a C-minus performance so far... And they are just about to reach out with the hook and drag us offstage, unless we begin pulling rabbits out of the hat pretty furiously."

"James Franco has turned much of his adult life into performance art that feels equal parts sincere and con game, and it would seem he'd be well cast as Oscar Diggs, a small-time illusionist and unabashed serial liar working the dusty back roads of Kansas in 1905. The problem is, Franco's a lot more believable playing slimy than sincere, and the part requires him to do both. It's a steady but less-than-captivating performance. … Much of Oz the Great and Powerful centers on Oscar's transformation from me-first slickster to the Wizard of Oz, aka Man Behind the Curtain. With Oscar relying heavily on the inventions of Thomas Edison, his hero back on Earth, to pull off his biggest trick ever, Oz the Great and Powerful finally breaks free of its beautiful but artificial trappings and becomes a story with heart in the final act. Thing is, we know Oz and its wizard and those witches and the Munchkins are destined for a far greater adventure a little ways down the Yellow Brick Road. The landscape won't be as amazingly gorgeous and the witches won't be able to fly about and hurl fireballs with the ferocity they display here, but it will be a much more magical adventure all the same."

"There is a definite prejudice towards men who use femininity as part of their palate; their emotional palate, their physical palate. Is that changing? It’s changing in ways that don’t advance the cause of femininity. I’m not talking frilly-laced pink things or Hello Kitty stuff. I’m talking about goddess energy, intuition and feelings. That is still under attack, and it has gotten worse."

"Performance Art is a loosely defined area of artistic exploration, i.e, the artistic counterpart of a scientific research program. It encompasses a wide range of activity involving an ever-widening variety of artists with diverse styles, methods, and concerns. Had we set ourselves the task of characterizing the ambitions of performance artists, we should have had to abandon hope of saying something instructive about the import and intention of this nontraditional school. Generalizations are suspect at this stage."

"Performance art isn’t hit/miss. It’s miss/miss/miss/miss/hit/miss/miss."

"It’s really life and death [not art].When they tell you your mother is 80 years old but you cannot see her again, you can never call it performance art. Or when your son is three, and they tell you that when you are released he will be in his teens and can never recognize you as a father. You feel terrible inside, to lose those chances. Each day, they tell you, 'You will spend your life day after day the same, minute after minute the same. You just have to pay [with] your life for this kind of so-called freedom that you are fighting for.' There is no sense of justice there. Why do I have to do this with them? Why do I have to argue or play this game?""

"The piercing movement is off to a good start, and I like the idea behind it: self-esteem through self-mutilation. I've always said, when in doubt, punch a hole in yourself."

"Also, there was a remarkable display of objects that primitive humanity had allegedly thrust through various parts of their bodies—some of them extremely sensitive—for decorative effect. I shuddered slightly at the thought: self-mutilation, though everyone's right, had always taken me aback."

"Three of the 10 feature films in the running for top prize at the world’s most important animation festival in Annecy in France – which ends on Saturday – are from Japan. The country is the only real challenger to Hollywood’s dominance of the labour-intensive genre."

"Yoshiaki Nishimura, a former Miyazaki stalwart who produced the Oscar-nominated The Tale of The Princess Kaguya, said the industry was struggling to “face up to a lack of animators, bad working conditions and perhaps a lack of creativity”."

"Ayumu Watanabe – whose beautiful The Children of the Sea was shown out of competition at the festival – worried about visual “standardisation” and lack of originality, not helped by the fact that “fewer and fewer animators can draw well by hand”."

"Japan will just no longer be the center of world animation. Maybe in five years, Taiwan will be such a center."

"The costumes, character design and extreme violence without consequences that you still see in cartoons are holdovers from black-face minstrelsy."

"'It's like building a cathedral, in which only a few seconds of animation are completed each week."

"Do you watch The Simpsons? Did you see the episode about Poochie the Dog? There's every network executive in there. You have creative people sitting in a meeting, and then you got some network executive come in. The executive will say, "Let's have the character be a little more with-it, a little more hip, a little more today, a little more contemporary, a little like "Hey dude, hey wow!'" [These are] executives at other networks, like the Big Three networks, and to a smaller degree, Fox. This is the thing that plagued animation writing when I started, which was the early '80s. You had all this shit on TV -- it was like Smurfs, He-Man, She-Ra. I actually worked on some of those [shows], and it was just all these life-draining, soul-numbing meetings with these executives who come in, and they just say, "We want this character more fun, more appealing to girls, more this, more that." In their way of thinking, animation is supposed to be something that's not interesting or fun to look at, or God forbid, you should laugh at. They want it to be comforting for kids, so a kid will watch, smile, and stare happily like a little drone, in between Fruit Roll-Up commercials. That's basically what they look for, for shows like that."

"Animation can explain whatever the mind of man can conceive. This facility makes it the most versatile and explicit means of communication yet devised for quick mass appreciation."

"Animation offers a medium of story telling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world."

"If you were to concoct a plan for entertainment-industry success in the digital age, Condry notes, it would probably not involve the painstaking development of hand-drawn cartoons. “It’s incredibly difficult, and not very lucrative” for the artists, says Condry, who visited dozens of anime studios, workshops and artists while researching the book over the last eight years. “It’s one of the most labor-intensive forms of media there is.” Entertainment companies do not necessarily make huge profits off anime, which was an issue motivating Condry’s study; as he puts it, “How can things that don’t make money go global?” The answer is that anime producers create many series and watch closely for what catches on — and then, once the characters in a series become a “platform” for audience participation, may cash in through toys, games and other forms of entertainment. “What distinguishes anime,” Condry says, “is the degree of openness the copyright holders have to give the fans a chance to re-work the characters” and other elements of the original cartoons. He adds: “The ‘Gundam’ producers, when shown work created by fans, just said, ‘That might be the way it is.’”"

"Even though you may see characters of color represented on screen, you can’t see the faces of the people hired to do the voices. Historically, white people did all the voices including those horrible imitations of what Asians, blacks, Latinos, and Native Americans were supposed to sound like."

"With animation because you can draw anything and do anything and have the characters do whatever you want the tendency is to be very loose with the boundaries and the rules. But what's great about all these different [cartoon] shows that are on now is they all have their own rules and they stick to them. And in my opinion the ones that don't make it, the ones that fall by the wayside, are the ones that aren't aware of that idea, that you have to have your own rules and boundaries. If anything is possible then I think the audience doesn't care."

"Animated porn has a long, international history—from the erotic woodblock prints of Japan’s Heian period to some of the earliest animated erotic cartoons of the Roaring Twenties (because of course once the moving picture came along, porn came with it). So if hentai and anime communities still thrive online and there are sites dedicated to Disney-inspired porn, it seems a shame that more people don’t talk about what makes this type of erotica so great. Clinical psychologist David Ley, PhD, author of Ethical Porn for Dicks, says that “animated erotica has been underground for a long time, largely because it’s often misunderstood.” Not only are cartoons something we regularly associate with childhood, but the style of a lot of pornographic cartoons is such that some characters featured may appear to be under the age of consent. “Though I might question how exactly you determine the age of a fictional animated character,” Ley added in an email to Glamour."

"To some people, even acknowledging these desires is a kind of taboo act, but that doesn’t mean there aren’t totally healthy and appropriate ways to do so. Writer and therapist Dr. Meg-John Barker says that if we want to explore those types of fantasies, “It’s important to find ways of experiencing them which aren’t unethical or non-consensual.” You can satisfy desires of all sorts because—one more time!—people and scenarios in animated porn are not real. You are not actually looking at a guy being fucked by a unicorn because not only is that not a real guy, but unicorns don’t even exist! (Sadly.) A friend of mine once told me that she’d never been triggered by a cartoon, and it got me thinking. Could animated erotica be a way to offer arousing stimuli to someone who is negatively affected by most live-action porn? Dr. Ley thinks so. “I’ve had several patients with trauma histories where this was their erotica of choice,” he says. “It’s a good example of the diversity of human sexuality, and the ways we each adapt our sexuality to fit our needs and personalities.” OK, and sometimes it might just be about seeing our favorite childhood characters having sex. Which is totally fine! “For a lot of people,” says LCSW and Certified Sex Therapist Melissa Novak, “their first memories are of being turned on by Beauty and the Beast or Snow White, and with animated porn you actually get to [as an adult] play out those childhood fantasies that you didn’t understand.”"

"In Shrek, we had to animate an ogre, a gigantic dragon, a talking donkey, a very human like princess, a gingerbread man, a puppet and so on... In ANTZ, most of the characters were ants. The big challenge was to jump from different characters and still be able to make them all perform together. Sometimes it could be hard when you're animating a human character and then the next day you might have to work on a dragon. For each character, it took us few months of testing and practice until we felt totally comfortable with the character. The fun part was when we all felt like we knew the characters and we could look at an animation test and said "That's not Shrek. Shrek would never do that." or "Yes, that's definitely Shrek.""

"I also think the very fundamental elements like drawing and sketching are still very important. One thing that I found very helpful is to appreciate things around me more often. You can be in a bus looking around, you see this child talking to her mother. If you think about animating a character to move like that child, you will realize life is amazing. You have all these natural, spontaneous character movements in front of you everyday. To capture that is a lot of hard work when you animate. Remember that plastic bag in American Beauty? We sometimes look at people around us and studied the movements and charateristics. Please try, you'll realize it's amazing."

"After graduation, Tezuka became a full-time cartoonist and hit the big time with Astro Boy, about a robot boy who is rescued by a sympathetic doctor. In 1963, Astro Boy became the first homegrown animated cartoon to air in Japan, giving birth to the billion-dollar anime industry. Tezuka had created one of Japan’s most enduring post–World War II cultural exports. But in the late 1960s people started to complain that cartoons were rotting kids’ brains and teachers began enforcing a “no comics” rule in the classroom. Tezuka’s cutesy animated television shows, so novel in the 1950s, became laughable during the 1960s. Tezuka responded by creating some of the most outrageously racy, controversial, morbid adult-oriented comics, ever."

"It's computer animation. It's a new industry. It has limitations: It doesn't do skin, hair and clothing real well. ``Take away skin, hair and clothing and you have crabs and insects."

"Animation in itself is an art form, and that's the point I think always needs clarification. True animation exists without any background, or any color, or any sound, or anything else; it exists in your hand. And you can take it and flip it. [...] What makes animation is the fact that you have a series of drawings that move. You don't even have to have a camera, you see; animation exists without it. If you want to broaden your audience, or make it more colorful or add music, then you put it under a camera one frame at a time, and then you run it at the same speed as you flip it, and then you have animation. If it depends basically upon soundtrack, or basically upon music, or color, graphic design, or anything else to sustain itself, then it is not unique to animation."

"̇ It’s wonderful. It takes a long time, but you have all of this luxury of choice, which you don’t have in live action. You can design your own movie stars. Especially if you’re anal like I am, for someone who is a control freak, animation is torture and heaven at the same time. I worked as production designer on Epic as well, so I got to carve weapons out of nutshells and toothpicks. It’s like getting to make the coolest toy soldiers ever. And they’re paying me."

"After seven years of consecutive growth, the anime industry set a new sales record in 2017 of ¥2.15 trillion ($19.8 billion), driven largely by demand from overseas. Exports of anime series and films have tripled since 2014 -- aided in part by sales to streaming giants such as Netflix and Amazon -- and so far show no signs of slowing."

"The strengths of Japan's animation industry boil down to the overlap between manga and anime, according to Ian Condry, the author of "Anime: Soul of Japan." "Creators used comics as a testing ground for their stories and characters. That's often been the secret of anime's success," said Condry in a phone interview."

"In the early 1980s, it was largely American and European children from military and expat business families based in Japan who circulated boot-legged videotapes of anime to their peers back home, according to Mizuko Ito, the editor of the "Fandom Unbound: Otaku Culture in a Connected World.""

"After Japan's once-miraculous economy went bust in the 1990s, the nation sought to rebrand itself from a global business superpower to an exporter of a unique artistic culture. The country pivoted from mass-marketing high-technology offerings to spreading the word on everything from Hello Kitty to sushi. In 1997, Japan's Agency of Cultural Affairs started supporting exhibitions on manga, anime, video games and media art."

"What one might consider as limiting (working at only Walt Disney Animation Studios) has actually been incredibly expanding for me. Because of its stature, Disney has attracted so many of the best artists in animation within its walls ever since I’ve been here. The animation world is actually a rather small family and so many animators I know at other studios have come from Disney or are going to come here. There is a constant influence from outside of our studio walls. Disney itself is ever evolving and continually re-inventing itself. The studio of today is nothing like it was in the 70’s and nothing like it will be 10 years from now."

"Disney did not have a monopoly on using animated folklore films for marketing purposes. During the heyday of Soviet animation in the 1970s and 1980s, cartoons that seemed to follow folktales were altered slightly to convey messages in keeping with Soviet ideology. They not only criticized capitalism, but also depicted women as sexless and self-sacrificing,and urged cooperation,neighborliness, and nonviolence. National minorities within the Soviet Union were portrayed as backward and in need of the guidance of Russia,the leading Soviet republic. Ukrainians, for example, were shown as cute and quaint, living in a bucolic land. Colorful clothing and tasty foods were attributed to them, as well as the ability to sing and dance. However, they were also seen as a people who keep costs low believed in spirits and did not understand modern life. The fall of the Soviet Union and Ukrainian independence have not changed the situation, at east when it comes to animation produced in Russia. Folklore films still show Ukrainians as bucolic and musical. Women still sacrifice for the sake of others. Any animation critical of Russia, even if based on folklore, quickly disappears from the market."

"The 1970s and 1980s saw the heyday of Soviet animation. Wonderful cartoons were produced, which were of the highest quality, and many won international awards. IuriiNorshtein's Shazka skazok (Tae of Tales 1979), for example, won awards in Germany, France, and Canada shortly after its release. As MacFadyen has shown (2007:183), the film was called "the greatest animated film of all time" at the 1984 Los Angeles Olympics, and an international committee in Japan declared it the second greatest film" with another Norshtein creation, Ezhik v tumane (Hedgehog in the Fog 1975) coming in first. Both of the acclaimed Norhstein films declare a relationship to folklore. Hedgehog in the Fog does so in its opening credits, where it states that it is based on a folktale, and Tale of Tales does so in its title."

"Two decades ago, there was hardly a Brazilian animation industry to speak of. Ten years back, a small handful of stalwart directors were struggling to gain international notoriety and impact TV, festivals and box offices domestically and abroad with low budgets and a lot of hard work. Today, Brazilian animation is thriving on all fronts, and in some cases, is even outpacing live-action in budget and ambition. In 1951, Brazil’s first-ever animated feature, “Amazon Symphony,” was released; since that time 43 other toon features have joined its ranks. One feature every year-and-a-half is hardly anything to write home about, but according to Marta Machado of Brazilian animation house Otto Desenhos, 19 of those pictures have come in the last five years, and another 25 features are currently in production."

"“Most institutions,” explains Leila Bourdoukan, former executive manager at Cinema do Brasil, “the culture secretaries, Brazil’s minister of culture and the state governments, have specific supports for animation. Animation is a labor-intensive activity which provides work for young people.”"

"The temptations and pitfalls are to go too far -- to exaggerate too much and just put things on the screen because you can put them in. To me, the most important thing is the characterization: to know them, to understand them and appreciate them. The effects are just to allow you to depict the characters as WELL and vividly as possible."

"We were completely aware of how different X-Men:TAS was regarding women. First, the series existed because Fox Kids Network president Margaret Loesch willed it into being. Second, everyone on the creative side had been working in the TV animation business for years, and we were tired of putting up with its many stupid, constraining rules, one of which was that in “boys’ adventure” series, the audience is almost all boys and they won’t watch female heroes."

"I think [adult studios] are afraid of CG coming into the market because it will affect them, and they aren't able to do it themselves because they do not have the creativity or the skills," says Darron. "If they do hire someone, they're not willing to put up the budget or give it the financial backing required."

"Their first feature, Sex Agent - 0069, took almost a year to complete. But these days, the brothers say they can make a feature in about four months – the same time it takes a studio to put together a live-action DVD. "We've been doing environments for many years, and we can create any environment someone wants in a couple of days," Tahl says, matter-of-factly. "The more we practice doing the animation, the faster we get.""

"Shingo Adachi, an animator and character designer for Sword Art Online, a popular anime TV series, said the talent shortage is a serious ongoing problem — with nearly 200 animated TV series alone made in Japan each year, there aren’t enough skilled animators to go around. Instead, studios rely on a large pool of essentially unpaid freelancers who are passionate about anime. At the entry level are “in-between animators,” who are usually freelancers. They’re the ones who make all the individual drawings after the top-level directors come up with the storyboards and the middle-tier “key animators” draw the important frames in each scene. In-between animators earn around 200 yen per drawing — less than $2. That wouldn’t be so bad if each artist could crank out 200 drawings a day, but a single drawing can take more than an hour. That’s not to mention anime’s meticulous attention to details that are by and large ignored by animation in the West, like food, architecture, and landscape, which can take four or five times longer than average to draw."

"According to the Japanese Animation Creators Association, an animator in Japan earns on average ¥1.1 million (~$10,000) per year in their 20s, ¥2.1 million (~$19,000) in their 30s, and a livable but still meager ¥3.5 million (~$31,000) in their 40s and 50s. The poverty line is Japan is ¥2.2 million."

"Anime’s structural iniquities stem back to Osamu Tezuka, the creator of Astro Boy and the “god of manga.” Tezuka was responsible for an endless catalog of innovations and precedents in manga, Japanese comics, and anime, onscreen animation. In the early 1960s, with networks unwilling to take the risk on an animated series, Tezuka massively undersold his show to get it on air. “Basically, Tezuka and his company were going to take a loss for the actual show,” said Michael Crandol, an assistant professor of Japanese studies at Leiden University. “They planned to make up for the loss with Astro Boy toys and figures and merchandise, branded candy. … But because that particular scenario worked for Tezuka and the broadcasters, it became the status quo.” Tezuka’s company made up the deficit and the show was a success, but he unknowingly set a dangerous precedent: making it impossible for those who followed in his footsteps to earn a living wage. Diane Wei Lewis points out in a recent study that women, who often worked on animation from home, were especially vulnerable to exploitation and paid even less. Nowadays, when production committees set the budget for shows, there is a long-established precedent to. The revenue is divided up among the television networks, manga publishers, and toy companies. “The parent companies make money from the merchandising tie-ins,” Crandol said, “but the budget for the rank-and-file animators is separate.” “These prices are so ridiculous because they’re still based on what Tezuka came up with,” said Thurlow. “And back then, the drawings were very simple … you had a circle head and dot eyes, and maybe you can draw an in-between in 10 minutes. I could earn some money at that pace … but Japanese anime, [now] one drawing is so detailed. You’ve worked for an hour for two bucks.”"

"I worry if we continue to animate in the same way with multiple movies coming out year after year from studios that there will be a “sameness” to it all. I worry audiences won’t find them fresh. We embraced the snappier style of animation to what I did on the last Ice Age movie."

"You have to understand that many of the scenes we're building just couldn't be done without the use of digital rendering."

"It's no secret that the majority of animators and writers prefer to work on shows aimed at an older audience. Abby Terkuhle, president of MTV Animation and creative director of MTV, was North America's first pioneer in the area of adult animation. His network continues to produce and showcase the kind of programming that has made this genre feasible both domestically and abroad. On the topic of creative process, Abby points out that, "For us, producing adult animation is in some ways akin to the creative process experienced in music. It gives our writers and animators an opportunity to experiment with their art and to come up with new techniques and formats. Going back to the early days, it started with something as simple as splashing paint on the MTV logo.""

"I think animation has a tendency to make you a little arrogant. You create everything in a world, think you have answers for everything, etc. So, I think it’s the ultimate challenge for animation directors – jumping to live-action where you don’t have that control."

"While the South African animation community is large compared to other countries in Africa, it is still small from a global perspective. There are about 20 established animation and vfx studios in the country, according to estimates, mostly small (two to three people) or medium in size. A few larger studios, with staffs of 30 to 35, dominate the commercial, vfx and long-form character animation sectors, but smaller studios can be profitable by specializing in commercials or motion graphics."

"Egypt also hosts a significant animation production business, with more than 50 animation studios, according to Mohamed Ghazala, an animator, animation historian and faculty member at Minia University in Egypt, one of the relatively few institutions in Africa that offer animation programs. His films include Carnival (2001), Crazy Works (2002) and HM HM (2005). Ghazala also is director of ASIFA Egypt, which was established in Cairo in October 2008 as the first ASIFA chapter in Africa."

"Outside of South Africa and Egypt, animation production is limited mostly to a few small studios and independent animators in countries such as Mauritius and Kenya, working primarily in 2D animation, along with some Flash and Maya work. Much of their output consists of a small number of short films and commercials, with very little long-form entertainment content. "We do a lot of work for Kenya, Nigeria, Malawi, because there are very limited animation resources available in these countries," says Forrest."

"In modern-day France, a long-term interest in Japan has mingled with the strong culture of bande dessinée, or French and Belgian comics. “The current popularity of manga [there] is generally traced to the proliferation of anime on French TV in the mid-1970s and 1980s,” according to Gueydan-Turek. This was largely limited to blockbuster manga and encouraged “a simplified and distorted view of Japanese culture”, where aspects like kawaii (the culture of cuteness) and certain violent aesthetics prevailed “over the artistic and literary nuance of more multilayered graphic works such as Keiji Nakazawa’s Barefoot Gen”. One manga series beloved in France has been the cat-centric Chi’s Sweet Home. However, Gueydan-Turek points to the la nouvelle manga movement as a less mainstream alternative, which brings together Japanese mangaka (manga authors) and Franco-Belgian bande dessinée artists in a hybridised approach to the multiple cultures."

"If manga has acted as a vehicle for continued international links in France, and as an alternative to the French cultural presence in Algeria, it’s provided a counter to perceived American values in Russia, where Sailor Moon has become hugely popular. Manga spread in the post-Soviet era, allowing certain educated youth to seek refuge from both the constraints of communism and the money-seeking excesses of capitalism. It was a key part of the geeky new otaku subculture (Japanese men who love manga, anime and computers) that provided a ‘protective niche’ for Russian young people."

"Any story can be told in animation…I’m hoping someone will try to tell a story that’s brand new…not one that’s similar to every other story we’ve seen."

"Animated drawings were introduced to film a full decade after George Méliès had demonstrated in 1896 that objects could be set in motion through single-frame exposures. J. Stuart Blackton's 1906 animated chalk experiment Humorous Phases of Funny Faces was followed by the imaginative works of Winsor McCay, who made between four thousand and ten thousand separate line drawings for each of his three one-reel films released between 1911 and 1914. Only in the half-dozen years after 1914, with the technical simplifications (and patent wars) involving tracing, printing, and celluloid sheets, did animated cartoons become a thriving commercial enterprise."

"Work hard. That’s the thing that most people who love games and animation may not realize about what they’re seeing. It requires an ugly amount of work. You have to dedicate your life to it, but I believe almost anyone can learn how to make games and animate at a competent level. I don’t believe in following your dreams and going into too much fairy dust about the arts. Sure, it’s fun, but there are many times it’s not fun and you still have to do it."

"The process of outsourcing animation began in the 1970s, when the three major American networks—ABC, CBS and NBC—aired Saturday morning cartoons like Scooby-Doo] and Fat Albert. These shows were hugely popular, and American production studios struggled to meet the demand for more episodes. “They had no other choice but to outsource production,” says Nelson Shin, the founder of Seoul’s AKOM Production, which has animated The Simpsons for more than 25 years. Korean artists proved themselves to be technically astute and fast, and by the 1990s, Animation World Magazine estimated that 30 percent of the world’s animation production was done in Korea. Today, the Korean animation industry is a complex web of around 120 studios, creating work for Fox, DreamWorks, Nickelodeon, and the Cartoon Network. “Not many people know about the close relationship between Korean and American animation production,” says Shin. The only tell, he says, comes if you pay close attention to a show’s credits."

"Kuwahara showed them how drawing on-screen would allow in-betweeners to create consistent line quality every time. He showed them how going fully digital would ease the revision process, making it so that anyone—in Korea or the U.S.—could open a file and make adjustments. He demonstrated how the eyebrow problem could be fixed in mere seconds. Still, in meeting after meeting, Kuwahara got the same response: Korean studio owners couldn’t justify the expense, given that most clients weren’t asking for the change. “How do you move a big show like The Simpsons into a different production pipeline?” Kuwahara says. “When you’ve done so many episodes a particular way, it’s tough to adjust all the moving parts.” Korean studios have faced technological change before. Animators here—like their American animation predecessors—once drew on translucent cells, which were then painted by hand. In the 1990s, Korean studios moved to doing “ink and paint” digitally—they started scanning line drawings and coloring them via software. Today, changing a color in a scene means a few clicks rather than redrawing everything. “When people were on paint, it was like, ‘Why should we stop painting?’’’ says Kuwahara. “Now, no one can conceptualize having to go back on paint.”"

"We had to be able to animate them so that they felt like flesh and blood, but most importantly you had to believe that they had souls behind their eyes."

"The trouble with animation today is that we’ve forgotten the basics. Every animator at Pixar can still draw. Good animation is driven by the craft not by the tools."

"You have to make all the same decisions that a live action director would have to make. Everything from where to put the camera to what the emotional tone of the scene is going to be, in addition to answering all the questions about costume design and weather and color and all the numerous elements that go into making the scene. We're there every step of the way from the very first crude character designs and early storyboards to how loud the footsteps of the Beast should be as he's walking across the marble floor. We shepherd the process from beginning to end."

"Animation is unlike other media industries in that it is, to use a sometimes vaguely applied adjective, global. The highly labor-intensive process behind animation production means that work is very often shared across countries and even continents. Animation, which is easier to dub and has much less local context than live action drama, also travels easily. The key target audience of under-nines happily watch cartoons wherever they originate. These underlying strengths of the genre remain, but it has become an increasingly tough industry for producers as more intense competition in the broadcasting marketplace has transformed their funding model. The corporate structure of companies active in the business ranges from the largest media conglomerates in the world (Walt Disney, Time Warner and Viacom Inc.) to small companies amounting to little more than a designer with a PC and the latest software package."

"About 15,000 young Jamaicans will benefit from training, digital work opportunities and seed investments to boost the digital and animation industries in the country as a result of a US$ 20 million loan for a Youth Employment in Digital & Animation Industries Project approved today by the World Bank Board of Directors. “This project facilitates Jamaica’s linkage into one of the fastest growing sectors in the global economy,” said Jamaica’s Minister of State for Science, Technology, Energy & Mining, Julian Robinson. “It is our strongest national thrust to date to mobilize the considerable creative and entrepreneurial talent among our youth towards earning our way to a brighter future.” Global animation is a growing industry currently valued around US$ 220 billion per year. International companies are increasingly looking at Jamaica as a country of choice for outsourcing animation production. As part of its “Vision 2030 Jamaica” plan, the government is looking at the information and communication technology (ICT) sector as playing a central role in the transformation of the country over the next two decades, moving Jamaica from being a consumer to also become a producer of digital platforms and content. "Youth unemployment in Jamaica is about 30 percent. This initiative spearheaded by the Government is about providing opportunities for new talents to get new skills, find jobs or become entrepreneurs,” said Sophie Sirtaine, World Bank Country Director for the Caribbean. “For the technology sector to become an engine for growth and employment, it requires the right environment with training opportunities and the right partnership between Governments, private sector and young people”, she added."

"The film industry is one of the important cultural and creative industries in Uzbekistan, including animated films. Animated films are recognized as a complex industry playing a critical educational role. Numerous sociological studies claim that modern cartoons and animated films are capable not only of influencing the child’s behaviour, but also influence the formation of his/her worldview."

"Anything can be done live-action if you have unlimited time and unlimited money. But it wouldn't have looked like the book and it wouldn't have kept the same emotion as the wonderful paintings that Chris illustrated. So I don't think it would have been as true to the book if it was done live-action."

"A February 1, 1998 New York Times story on contemporary Japanese animation comments on its wide range, but emphasizes that "animé refers strictly to `adult' Japanese animation ... racy, battle-ravaged animé ... `pornimation,' as some of the steamier romps with American-looking women, from college girls to the princesses of sci-fi legend, are sometimes called in the United States ... animé is all violence and sex ..." The article also refers to one of Japan's most popular children's TV cartoon stars, the robot cat Doraemon, as "scantily clad;" an innuendo equivalent to identifying Donald Duck or Porky Pig only as cartoon characters who go about in public without any pants on."

"Michael Johnson, president of Buena Vista Home Entertainment, said in Daily Variety, February 13, 1998, of Disney's forthcoming U.S. release of Hayao Miyazaki's 1997 Japanese box-office-record-breaking feature Princess Mononoke, "This is not anime ... it's not effects-driven or violence-driven." Mike Lazzo, vice president of programming for the Cartoon Network, assured the public in USA Today, December 18, 1997 that anime is not shown on American TV. "Japan animation is so different from what airs here ... It's far edgier, adult and violent. Anime isn't very story-based ... The story is hard to follow." When it was pointed out that the Cartoon Network shows Speed Racer and Voltron, both juvenile action-adventure TV cartoon series produced in Japan, Lazzo said that "neither show is in the style of anime.""

"When the first anime-genre videos were released in 1990-91 through mail order and direct sales to the comic-book fandom specialty stores, it was understood by this market that these were animated equivalents of movies like The Terminator and Die Hard, full of explosions, blood-'n-guts, adult dialogue, and often a brief risqué nude scene. Around 1994 the anime videos expanded into the major video mass-market chains and became accessible to the general public, which tends to assume automatically that all animated cartoons are safe for children. This resulted in the necessity for warning advisories on the video boxes such as "Contains violence and nudity;" "Contains brief nudity and mature situations. Parental discretion advised;" and, "Recommended for Mature Viewers." But these did not yet include explicit sexual titles."

"Japanese animated explicitly adult cartoons developed along with the general animated Direct-to-video market. The first Japanese Original Animated Video (OAV) title was a science-fiction drama, Dallos, released in December 1983. The third OAV release, on February 21, 1984, was Lolita Anime I: Yuki no Kurenai Kesho * Shojo Bara Kei (freely translated, Crimson Cosmetic on the Snow * Young Girls' Rose Punishment). This half-hour video, first in the short-lived Wonder Kids erotic anime series, consisted of two 15-minute dramas of rape and sadistic sexual torture/murder of schoolgirls, whose spirits exact a gruesome supernatural vengeance. Of the seventeen OAVs released during 1984, six were "general" and eleven were pornographic. In 1985, after the viability of the direct-video market for action-adventure anime had been established, the total was 28 action-adventure titles to just another eleven porno titles. The Japanese domestic OAV market has grown accordingly, over the past decade, with 1997's output of 162 "general" titles and 62 erotic titles (including some multiple volumes of series) being about the average ratio."

"None of the anime distributors are willing to discuss sales figures, but John Sirabella makes a broad estimate that adult anime is about 30% to 40% of the overall anime market. "If the general market is $100,000,000, that means that the adult videos are selling $30,000,000 to $40,000,000 a year." This is disputed by CPM's sales director, Mike Pascuzzi, who estimates that the adult sales only make 15% to 20% of the general market. "Don't forget that there are several other anime video releasers such as Viz Video, Pioneer, AnimEigo and Urban Vision which do not have an adult label at all. They may have a few individual titles which require a Mature Audiences warning due to R-level content, but they are not really in the adult market." This may be a difference in perception as to what constitutes the "adult anime market" as distinct from the general market. Would a raunchy adolescent comedy full of college-fraternity style humor such as panty raids, peeking into the womens'-gym showers and foul-mouthed dialogue, but no explicit sex, count as an adult or as a general sale? Although the dividing line between general anime and adult anime may be vague, there is a definite adult market. All the anime companies producing for that market agree that sales are steady, and increase as a direct result of the number of titles available. There is no sign yet of any saturation level. As long as production in Japan turns out 50 or 60 new titles per year, there appears to be the potential for unlimited growth. Many, though not all, of the adult cartoon videos range from mild eroticism to explicit pornography. However, there does not seem to be a broad correlation between the anime pornography audience and the market for American-made stag cartoons and live-action sex films. The overlap so far is minor, and the American general erotic video/TV market does not seem to be interested in tapping into the lode of Japanese animated titles."

"Since the 1960s, Japan has produced a considerable number of cyborg narratives in manga and anime, particularly in works targeting male children and adolescents. From early manga examples such as Kazumasa Hirai and Hiro Kuwata's 8 Man and Shotaro Ishinomori's Cyborg 009, and their subsequent anime versions, the protagonist is commonly cyborged against their will or desires. This positions them as victims, regardless of how physically powerful they are. Their sense of inferiority and vulnerability usually underpins these narratives, either subtly or explicitly. The depiction of female cyborgs adds complexity to the positioning of cyborgs in manga and anime, especially in terms of gender. Female cyborgs may be equipped with remarkable physical strength, combined with voluptuous, eroticized bodies (for instance Major Motoko Kusanagi in Masamune Shirow's original manga and Mamoru Oshii's anime version of Ghost in the Shell); and these powerful female cyborgs are also frequently ascribed roles as protectors or supporters of incompetent and insecure male protagonists. Although some female cyborgs may possess characteristics that indicate a transgression of the conventional boundaries of gender, this transgression is often limited and undermined by other elements of their depiction. As Kumiko Sato points out in her essay "How Information Technology Has "Not, Changed Feminism and Japanism", "female cyborgs and androids have been domesticated and fetishized into maternal and sexual protectors of the male hero" and thus "their functions is usually reduced to either a maid or a goddess obediantly serving her beloved male master, the sole reason for her militant nature.""

"Although all cultural products, including anime, are inextricably linked to some philosophy, when the Japanese deal with Christianity in their anime, it is more for literary effect than for philisophical argument: symbols, more than syllogisms, are what most Japanese anime artists are concerned with. For instance, in Golgo 13, the protagonist is an assassin known as "Golgo 13", which refers to Golgotha, the hill on which Jesus was crucified, and the alleged day-Friday the thirteenth-when Jesus was killed; but beyond the common feelings of death, sorrow and loneliness which both Jesus and Golgo 13 felt or feel, there is nothing else in common between these two. Or again, in Rave Master, Shiba's sword is called the "Ten Commandments," which shares the idea of judgement with the biblical commandments but nothing else. One of the things that follows from this is that, agreeing with C.S. Lewis's claim in his essay "Christian Reunion: An Anglican Speaks to Roman Catholics," Catholicism is a "jungle of symbols and Protestantism is often a "desert" of bare platitudes (C.S. Lewis: Essay Collection and Other Short Pieces, p. 396), when Japanese anime deals with Christianity, it tends to gravitate toward Catholicism."

"Besides being symbolically richer-and hence better to create a "spiritual mood"-than Protestantism, Catholicism is also more likely to be featured in Japanese anime because many of the western, biblically-inspired stories that the Japanese have drawn from and encoded in their anime were set in Europe at a time when there was no Catholic-Protestant divide and so have typically been thought of as Catholic."

"Moreover, the entire Gothic genre itself, with its sympathetic vampires and the like, was largely a product of the Romantic Movement, which, though it began in Protestant countries, combined the Protestant emphasis on freedom with Catholic imagery. This Romanticism, in turn, influenced countless anime, such as Vampire Hunter D. Indeed, when Japanese anime present unorthodox Christian views, these views are not always the product of Japanese pluralism but are sometimes Japanese appropriations of Romanticism's unique conceptualization of Christianity."

"[I]t comes as little surprise that when we look at Japanese anime, we are bombarded by innumerably different presentations of gender and sex, including those having to do with major Christian figures, such as angels, demons, priests, cardinals, nuns and popes. For instance, in Earthian, the two protagonist angels, Chahiya and Kagetsuya, are not only partners in evaluating humanity, but are also shown to be gay lovers since both are in male form when they have sex. Or again, in Trinity Blood, the head of the Catholic church is a bishonen ("beautiful boy") pope, who is flanked by a female cardinal. Most of these encodings don't reflect orthodox Christianity, which as traditionally claimed that while sex belong to the body, gender belongs to the soul or spirit, and because the higher affects the lower, the soul or spirit determines the sex of the body. As a result, when orthodox Christians call God "He' and not 'She,' they mean to say that God is essentially masculine, even though He, of course, has feminine attributes. Or again, female bodies point toward feminine souls and male bodies point toward masculine souls, and even though females should have some masculine attributes and males should have some feminine ones, neither sex should engage in any activity, such as cross-dressing or homosexual love, that would confuse or blur the essential differences between men and women. Moreover, while angels and demons don't have bodies as we understand them and hence are sexless, it doesn't follow that they don't have genders since gender belongs to the soul or spirit. It's based on a theory of gender such as this, coupled with the belief that God made all things to function in certain ways, that most orthodox Christians have held beliefs such as the masculunity of God (John 3:35), male headship in marriage (Ephesians 5:32), the unnaturalness of homosexuality (1 Corinthians 6:9), the lack of sexual marriage of Heaven (Matthew 22:30), the importance of gender for church office (1 Timothy 2:12), and condemnation of cross-dressing and the like (Deuteronomy 22:5). As a result, orthodox Christianity would take issue with Earthian's gay angels and Trinity Bloods female cardinal, and would see potential danger in anime's general tendency to over-feminize men, for instance, masculine, spiritual authority is poorly represented by Trinity Bloods bishonen pope. Perhaps more than any other issue, this sort of treatment of gender and sexuality demonstrates that Japanese pluralism has penetrated deep into the minds of Japanese anime artists. The ultimate result of this is that when these artists produce anime, they encode their pluralistic interpretations of Christianity into their works. And because pluralism has little use for propositional truths or religious doctrines, when Japanese anime presents Christian teaching, it is almost always rendered inaccurately."

"While a growing body of research is examining the effects of sexism in television and video games on sexist attitudes, there has been little research specifically focusing on this issue in the context of anime. Anime is an abbreviation for Japanese animation, and is often based on manga (Japanese graphic novels/comics). Some genres of anime/manga frequently contain sexist content, including sexual harassment, scantily clad women, and objectification of women (Brenner, 2007). In one study of perceptions of sexism in anime, Bresnahan, Inoue, and Kagawa (2006) asked male and female participants from the US and Japan to watch an episode of Dragon Ball Z, before rating their perception of the characters. Participants from Japan and males from both of the countries perceived the characters as exhibiting stereotypical traits, but those who held more traditional views of gender roles perceived fewer stereotypes. Both participants from Japan and males (across both countries) endorsed the notion that the characters would serve as good role models and liked the characters. The study suggests that participants were often aware of the sex stereotypes portrayed in the anime and viewed these characterizations as not only acceptable, but good examples for others. And while this is only one study, when coupled with other scholarly work (Brenner, 2007; Kim, 2002; Napier, 2005) and discussions within the anime fandom itself, there is reason to believe at least some genres of anime may contain more sexist content than others, and may be more closely tied to sexist attitudes as a result."

"These results largely support the notion that most popular anime series contain sexist content and are consistent with most of our hypotheses. First, although women make up about half of the world’s population, women are largely underrepresented in anime. Second, female (vs. male) characters are more likely to be portrayed in a sexualized manner. Third, main or central female characters (vs. secondary or peripheral) were more likely than expected to be curvaceous and to be dressed and act in a provocative manner. Our fourth prediction, that central male characters (vs. secondary or peripheral) would be more hypermasculine in a manner parallel to that of female characters, was not supported by the data. Finally, men were more likely than women to use a weapon as an indicator of physical violence and aggression, a result consistent with stereotypes about men (Eagly & Steffen, 1986). Together, the results largely support the notion that anime as represented by several of the most popular series often contains sexist content."

"Although anime fans’ degree of sexism tended to be lower than both college students and a community sample, we hypothesized and found that consumption of anime in general is positively related to both benevolent and hostile sexism. In other words, while anime fans generally do not support sexist attitudes, viewing anime is associated with greater sexism. We predicted, and found, that a preference for hentai in particular mediated the relationship between consumption and hostile sexism. Furthermore, we predicted, and found, that preference for action and mecha genres mediated the relationship between consumption and benevolent sexism. Two unexpected results were also observed. First, a preference for slice of life anime also mediated the relationship between consumption and benevolent sexism. One possible explanation is that slice of life anime often contains portrayals of relationships that may well include sexism in everyday interactions. Second, a preference for the drama genre mediated the relationship between consumption and both hostile and benevolent sexism, with drama negatively predicting both dimensions of sexism. It may be possible that anime in the drama genre more accurately portrays the sexes and the nature of their relationships (e.g., trouble or discord in a romantic relationship), although it is surprising that these results differed so considerably from the slice of life genre. Future research is needed to disentangle these results and better understand what, precisely, leads one to positive associations with sexism and the other to negative associations. Taken together, the results support the notion that consumption of anime is associated with sexist attitudes, though the relationship is specific to particular anime genres."

"In this mean work of detraction, we scarcely need say that the miserable dough-face who edits the Cass paper in this city, and through whom our daughter was basely excluded from "Seward Seminary," on account of her complexion, very appropriately took the lead. This self-elected umpire of taste in the city of Rochester, claims as much skill in matters relating to the harmony of sounds, as he assumes with respect to the harmony of colors. We warn the good people of Rochester against attending either seminaries or concerts, on pain of being expelled from respectable and refined society, should they venture to do so before obtaining the opinion of this "most learned judge" whose word is sufficient to set at defiance and veto the wishes of a whole seminary of young ladies and misses. We believe he does not object to the "Virginia Minstrels," "Christy's Minstrels," the "Ethiopian Serenaders," or any of the filthy scum of white society, who have stolen from us a complexion denied to them by nature, in which to make money, and pander to the corrupt taste of their white fellow-citizens. Those performers are undoubtedly in harmony with his refined and elegant taste!"

"Partly from a love of music, and partly from curiosity to see persons of color exaggerating the peculiarities of their race, we were induced last evening to hear these Serenaders. The Company is said to be composed entirely of colored people, and it may be so. We observed, however, that they too had recourse to the burnt cork and lamp black, the better to express their characters and to produce uniformity of complexion. Their lips, too, were evidently painted, and otherwise exaggerated. Their singing generally was but an imitation of white performers, and not even a tolerable representation of the character of colored people. Their attempts at wit showed them to possess a plentiful lack of it, and gave their audience a very low idea of the shrewdness and sharpness of the race to which they belong. With two or three exceptions, they were a poor set, and will make themselves ridiculous wherever they go. We heard but one really fine voice among the whole, and that was Cooper's, who is truly an excellent singer; and a company possessing equal ability with himself, would no doubt, be very successful in commanding the respect and patronage of the public generally. Davis (the Bones) too, is certainly a master player; but the Tambourine was an utter failure. B. Richardson is an extraordinary character. His Virginia Breakdown excelled anything which we have ever seen of that description of dancing. He is certainly far before the dancer in the Company of the Campbells. We are not sure that our readers will approve of our mention of those persons, so strong must be their dislike of everything that seems to feed the flame of American prejudice against colored people; and in this they may be right, but we think otherwise. It is something gained when the colored man in any form can appear before a white audience; and we think that even this company, with industry, application, and a proper cultivation of their taste, may yet be instrumental in removing the prejudice against our race. But they must cease to exaggerate the exaggerations of our enemies; and represent the colored man rather as he is, than as Ethiopian Minstrels usually represent him to be. They will then command the respect of both races; whereas now they only shock the taste of the one, and provoke the disgust of the other. Let Cooper, Davis and Richardson bring around themselves persons of equal skill, and seek to improve, relying more upon the refinement of the public, than its vulgarity; let them strive to conform to it, rather than to cater to the lower elements of the baser sort, and they may do much to elevate themselves and their race in popular estimation."

"Blackface is a form of cross-dressing, in which one puts on the insignias of a sex, class, or race that stands in binary opposition to one's own. Current attention to cross-dressing, however, derives from gender and not racial studies. There are good theoretical reasons to privilege sexual over racial cross-dressing, since the construction of sexual difference is a universal feature of culture. Sexual and racial cross-dressing may not do the same work, a possibility that problematizes the use of gender cross-dressing theory to answer the question raised by race. But where the prevailing historical cross-dressing practice has been grounded on race, then the theory must do justice to the resulting sexuoracial system."

"Mac: A lot of great actors have done blackface."

"Rick Ford: During the threat of an assassination attempt, I appeared convincingly in front of Congress as Barack Obama."

"Border Morris"

"Censored Eleven"

"Little Black Sambo"

"List of blackface minstrel songs"

"List of blackface minstrel troupes"

"List of entertainers known to have performed in blackface"

"Portrayal of East Asians in Hollywood"

"Racebending"

"Whiteface (performance)-->"

"[to Lois Cummings] Y'know, I-I-I just—I'm just thinking about just how lucky we are to have a kid, y'know? I mean, I, it's, just take it for granted, but, it's a miracle when you think about it. Idn't it, y'know? This, this whole, this-this "birth" thing. Like, I mean, y'know, wha-what happens? I unload, uh-uh-uh—a whole batch of this—these, uh, these little reproductive apostrophes in-in-into your, uh, y'know, uh-uh-uh "miracle bucket," and then, nine months later, Milt comes out, y'know? I mean, it's-it's—it's-it's-uh, for me, it's got the same kind of, uh, uh, y'know, awe-inspiring mystique as-as-as, like, Shrinky Dinks."

"To test her idea, she [Michelle Khine] whipped up a channel design in AutoCAD, printed it out on Shrinky Dink material using a laser printer, and stuck the result in a toaster oven. As the plastic shrank, the ink particles on its surface clumped together, forming tiny ridges. That was exactly the effect Khine wanted. When she poured a flexible polymer known as PDMS onto the surface of the cooled Shrinky Dink, the ink ridges created tiny channels in the surface of the polymer as it hardened. She pulled the PDMS away from the Shrinky Dink mold, and voilà: a finished microfluidic device that cost less than a fast-food meal."

"In any other job in the world, if you wasted all your time fucking around and didn’t get any work done, you’d get fired. Writer’s Block is a filthy lie. I couldn’t have Accountant’s Block. Oh, woe is me, I can’t make these spreadsheets because I’m just not feeling it today—FIRED."

"I’ve realized over the years that, with rare exceptions, most writer’s block isn’t writer’s block at all: It’s necessary time that allows the unconscious mind to do its deep work. The great “Ah-Ha!” moments don’t usually come at the keyboard. They come when I’m lying on the floor, staring into space (or banging my head against the wall in frustration). All of a sudden the Unconscious Camera turns on, a movie starts playing in my head-and there it is: The Big Moment. Or the Whole Damn Story. And, in many ways, I had nothing whatsoever to do with it."

"He had writer's block once. It was the worst ten minutes of his life."

"The imagination only becomes becalmed if and when your tale has sailed you into lifeless waters, and you are too stubborn to throw pages away and start over. If your imagination is going into rebellion against you, start throwing pages of the manuscript away, starting with the most recent and moving backward. At a certain point, you will discover the writing block has vanished. Writer's block is your muse's way of telling you that your tale is going wrong. Listen to the muse and try a different approach."

"Q: Much of your work involves faces. Which seems ironic, because faces are the hardest things to fake with CGI. Avatar got it right, and then Tron: Legacy got it wrong a year later. Do you think there will be work for practical effects and makeup people doing facial design for CGI films?"

"My very first day, we were doing a huge practical effect, a flying effect. It was going to be me and Gene Hackman. Okay, first of all, that’s incredibly cool. But we were in a ’30s-style open-top roadster and, basically, Superman—played by Christopher Reeve, also amazingly cool—flies underneath the car, and he would fly away with it. Nowadays they would do that with green screen. You’d be lucky if you ever actually even got in the car. But at the time, they did it practical. So they literally got one of those huge construction cranes that are usually on the top of buildings, and lifted this convertible 40, 50 feet in the air, with Christopher Reeve wired underneath it in full Superman outfit. Did I say “outfit”? I’m apparently from the 1950s. [Laughs.]"

"Jurassic Park's revolution was technological, but more importantly, it was popular. If Spielberg and Lucas saw the future of cinema in those shots, it was the public who made that future a reality. Sam Neill and Laura Dern's stunned awe upon seeing a real-looking brachiosaur on its hind legs eating from a tree was a perfect mirror of our own. Audiences believed. When that dinosaur's feet came down with a thud, the reverberations rippled past dumbstruck viewers and into moviemaking itself. Two years later, the world witnessed the first CG character in a main role (Casper), more realistic CG-rendered animals (Jumanji), and the first feature-length computer-animated movie (Toy Story). Between 1996 and 1998 special effects films started to create entire cities, armies of creatures and destructive disasters in films like Dragonheart, Independence Day, Twister, Mars Attacks, The Fifth Element, Starship Troopers, Titanic, and Godzilla. It was an exciting time to witness how far CGI's capabilities could be pushed. By 1999—when The Mummy, Star Wars: Episode I – The Phantom Menace, and The Matrix contributed their own technological forward leaps—computer-generated effects weren't assistive moviemaking tools anymore. They were the driving force of entire films."

"Now, almost no major-studio movie is made without CGI—even Oscar-baiting dramas like Social Network, or comedies like The Campaign and the coming The Hangover Part III. Trailers now have more CG shots than all of Terminator 2. Budgets have swelled into the hundreds of millions. Of course, this has led to a lot of bad films getting made. And special effects have become so pervasive, they've lost much of their capacity to cause wonder. Today, it's nearly as common for audience to pan a film's effects (like those in I Am Legend, X-Men Origins: Wolverine, Green Lantern and even King Kong's dinosaurs) as it is for them to praise it: We've gotten so used to CGI that the illusion, the sense of realness that pervaded Jurassic Park, is dead."

"The temptations and pitfalls are to go too far -- to exaggerate too much and just put things on the screen because you can put them in. To me, the most important thing is the characterization: to know them, to understand them and appreciate them. The effects are just to allow you to depict the characters as WELL and vividly as possible."

"One of the fatal mistakes that almost every science-fiction film makes is that they spend so much time on the settings — you know, creating the environment — that they spend film time on it. And you don't have to spend too much film time to create an environment. What they're doing is showing off the amount of work that they generated, and it slows the pace of the film down. And the story is not the settings. The story is the stories, plot. You're always surprised with characters, I mean in film it's even more dramatic than it is in writing, because eventually you actually take a real person and stick them into that character. And that real person brings with him, or her, an enormous package of reality. I mean, Threepio is just a hunk of plastic, and without Tony Daniels in there it just isn't anything at all. In the first film we had maybe 20 colors to paint with, and this time we've had 40 colors to paint with. Well, that doesn't mean it's going to be a better painting. Special effects are just a tool, a means of telling a story. People have a tendency to confuse them as an end to themselves. A special effect without a story is a pretty boring thing."

"Some of the physical phenomena commonly simulated in movie and video game special effects include water, fire, smoke, explosions, rigid body dynamics, and the deformation of elastic bodies. The governing equations for these processes are most often in the form of a system of partial differential equations."

"Any kid with a computer can reproduce the special effects seen in today’s movies. The mystery's gone. The curiosity that viewers once felt when they saw special effects has disappeared. It's as if a magician had revealed all of his tricks... There’s no question that these computer films are well packaged but the charm has disappeared... If Spielberg were to film E.T. today using the latest technology I'm not sure it would be a hit because the techniques they’re using at the moment couldn't reproduce the tender expression of ET's eyes, for example. The secret of creating what technology is unable to express lies in the work of the artisan, who is able to develop characteristics that touch our deepest emotions."

"It’s what we do as cartoonists, to cut through the [bull] and expose it."

"I cartoon because I got tired of feeling excluded from the comic stage...We’re not here to fix the world’s problems but to shine a big, fat light on them hopefully."

"my slogan is “The Pen is Funnier than the Sword”—which I really believe. I’m committed to non-violent change."

"I’m an idealist and an optimist: all my political work is aimed at helping usher in a better world. I believe that political cartooning should be almost a form of activism, not just idle commentary for the sake of commentary."

"As a political cartoonist, wielded more influence than any other artist of the 19th century. He not only enthralled a vast audience with boldness and wit, but swayed it time and again to his personal position on the strength of his visual imagination. Both Lincoln and Grant acknowledged his effectiveness in their behalf, and as a crusading civil reformer he helped destroy the corrupt Tweed Ring that swindled New York City of millions of dollars. Indeed, his impact on American public life was formidable enough to profoundly affect the outcome of every presidential election during the period 1864 to 1884."

"There are many taboos, intolerance and extremism. And our task is — to destroy them. I believe that clever and artistic, reasoned and convincing humor can push more and more walls in our world. And it can be done without insult or aggression."

"Few people have any adequate conception of the cartoon as a factor in political agitation and social progress...A score of pages of the most graphic writing could not be so effective...It is one of the most subtle of educational forces. Its evolution has been slow under capitalism, but is being rapidly accelerated with the growth of Socialism. The true art of the untrammelled cartoonist is now being developed and he will be one of the most inspiring factors in the propaganda of the revolution. No more is the cartoonist compelled to prostitute his genius and traffic in his art. The prizes of capitalism no longer tempt him; its chains of dependence no longer hold him captive...[the social cartoonist] is the social conscience, the social sense of duty, the social love and the social inspiration, and his the thrillingly joyous and self-imposed task to redeem the art of pictorial appeal from gross and sordid commercialism and consecrate it to the cause of freedom and the service of humanity."

"Political cartoons and other graphic images had depicted the possible social catastrophes surrounding female advancement since before te creation of the United States (Franzen and Ethiel), Woman Suffrage , for instance, held a multitude of possible horrors: usually, cartoons depicted a woman in a tie, smoking a (Freudian) cigar and dominating a man, often her husband. In this logic, a woman with the masculine prerogative of the vote would naturally become masculinized, wearing pants and sitting in indelicate poses. If women became masculine the equal and opposite reaction was that men would then become feminine, adopting female duties and behaviors like childcare and homemaking. The cartoons depicting and negotiating these fears addressed social apradigms about women's roles, about masculinity and feminimity and they set an historical precedent in graphic are for later representations of women."

"Throughout my my career – which began in 1990 right when the press became unionized – the themes have generally been social-political issues: police brutality, state terrorism, corruption, political maneuvers…And not just in Brazil, the themes I tackle looking abroad include war, armed conflicts, and torture. I’ve also done a lot about the Brazilian military dictatorship."

"What would a respectful political cartoon look like?"

"I, for one, think good political cartoons retain their value for decades. You can learn a lot from those old Doonesbury books. I might add that we cartoonists who lambasted the Bush administration from the beginning have been proven more accurate than most of the highly-paid gasbags you see on television. Historians and television producers, please take note."

"Cartoons are a great medium for demonstrating just how absurd something is, without ever having to say it directly."

"The thing I like most about political cartooning is the relevance of the work to the real world. And if you do this long enough you get to look back and see yourself in historical context, sometimes on the right side and sometimes on the wrong. But I’m proud of the work I was doing in the runup that bamboozled us into the Iraq War and that horrible chapter where Cheney and Bush drove the country into the ditch, the one we’re still in."

"The self-righteously bitter cartoons that appear in sectarian magazines are fine if all you want to do is preach to the choir, but I believe you can reach a lot more people with humor."

"In my youth I hoped for no higher status in life than to be among those who would follow in the wake of Thomas Nast, Joseph Keppler, and Bernard Gillam, outstanding artists in the field of political caricature. And when in my early twenties I grew familiar with the political and social satires of the graphic artists of England and France across two centuries, these gave even greater stimulus to my ambition. Dreamily I anticipated that my destiny was to succeed as a caricaturist of some influence in public affairs."

"I was in deadly earnest about developing my talent, and carousing had no lure for me. I applied myself assiduously to the work in hand, and as I proceeded I became more and more convinced that graphic art was my road to recognition. Painting interested me no less, but I thought of it as having no influence. If one painted a portrait, or a landscape, or whatever, for a rich man to own in his private gallery, what was the use? On the other hand, a cartoon could be reproduced by simple mechanical processes and easily made accessible to hundreds of thousands. I wanted a large audience."

"Indian Art demands of the artist the power of communion with the soul of things, the sense of spiritual taking precedence of the sense of material beauty, and fidelity to the deeper vision within..."

"I have, however, mentioned [in The Foundations of Indian Culture] that Islamic culture contributed the Indo-Saracenic architecture to Indian culture. I do not think it has done anything more in India of cultural value. It gave some new forms to art and poetry. Its political institutions were always semi-barbaric."

"We shall never be able to do justice to Indian art, for ignorance and fanaticism have destroyed its greatest achievements, and have half ruined the rest. At Elephanta the Portuguese certified their piety by smashing statuary and bas-reliefs in unrestrained barbarity; and almost everywhere in the north the Moslems brought to the ground those triumphs of Indian architecture, of the fifth and sixth centuries, which tradition ranks as far superior to the later works that arouse our wonder and admiration today. The Moslems decapitated statues, and tore them limb from limb; they appropriated for their mosques, and in great measure imitated, the graceful pillars of the Jain temples. Time and fanaticism joined in the destruction, for the orthodox Hindus abandoned and neglected temples that had been profaned by the touch of alien hands."

"We may guess at the lost grandeur of north Indian architecture by the powerful edifices that still survive in the south, where Moslem rule entered only in minor degree, and after some habituation to India had softened Mohammedan hatred of Hindu ways. Further, the great age of temple architecture in the south came in the sixteenth and seventeenth centuries, after Akbar had tamed the Moslems and taught them some appreciation of Indian art. Consequently the south is rich in temples, usually superior to those that remain standing in the north, and more massive and impressive; Fergusson counted some thirty "Dravidian" or southern temples any one of which, in his estimate, must have cost as much as an English cathedral."

"Before Indian art, as before every phase of Indian civilization, we stand in humble wonder at its age and its continuity."

"From that time to this, through the vicissitudes of five thousand years, India has been creating its peculiar type of beauty in a hundred arts. The record is broken and incomplete, not because India ever rested, but because war and the idol-smashing ecstasies of Moslems destroyed uncounted masterpieces of building and statuary, and poverty neglected the preservation of others. We shall find it difficult to enjoy this art at first sight; its music will seem weird, its painting obscure, its architecture confused, its sculpture grotesque. We shall have to remind ourselves at every step that our tastes are the fallible product of our local and limited traditions and environments; and that we do ourselves and foreign nations injustice when we judge them, or their arts, by standards and purposes natural to our life and alien to their own."

"In India the artist had not yet been separated from the artisan, making art artificial and work a drudgery; as in our Middle Ages, so, in the India that died at Plassey, every mature workman was a craftsman, giving form and personality to the product of his skill and taste. Even today, when factories replace handicrafts, and craftsmen degenerate into “hands,” the stalls and shops of every Hindu town show squatting artisans beating metal, moulding jewelry, drawing designs, weaving delicate shawls and embroideries, or carving ivory and wood. Probably no other nation known to us has ever had so exuberant a variety of arts."

"It is clear, from the drawings, in red pigment, of animals and a rhinoceros hunt in the prehistoric caves of Singanpur and Mirzapur, that Indian painting has had a history of many thousands of years. Palettes with ground colors ready for use abound among the remains of neolithic India. Great gaps occur in the history of the art, because most of the early work was ruined by the climate, and much of the remainder was destroyed by Moslem “idol-breakers” from Mahmud to Aurangzeb. The Vinaya Pitaka (ca. 300 B.C.) refers to King Pasenada’s palace as containing picture galleries, and Fa-Hien and Yuan Chwang describe many buildings as famous for the excellence of their murals; but no trace of these structures remains. One of the oldest frescoes in Tibet shows an artist painting a portrait of Buddha; the later artist took it for granted that painting was an established art in Buddha’s days."

"Everywhere in India, in the millennium before the coming of the Moslems, the art of the sculptor, though limited as well as inspired by its subservience to architecture and religion, produced masterpieces. The pretty statue of Vishnu from Sultanpur,47 the finely chiseled statue of Padmapani, the gigantic three-faced Shiva (commonly called “Trimurti”) carved in deep relief in the caves at Elephanta, the almost Praxitelean stone statue worshiped at Nokkas as the goddess Rukmini, the graceful dancing Shiva, or Nataraja, cast in bronze by the Chola artist-artisans of Tanjore, the lovely stone deer of Mamallapuram, and the handsome Shiva of Perur—these are evidences of the spread of the carver’s art into every province of India."

"The same motives and methods crossed the frontiers of India proper, and produced masterpieces from Turkestan and Cambodia to Java and Ceylon. The student will find examples in the stone head, apparently of a boy, dug up from the sands of Khotan by Sir Aurel Stein’s expedition; the head of Buddha from Siam; the Egyptianly fine “Harihara” of Cambodia; the magnificent bronzes of Java; the Gandhara-like head of Shiva from Prambanam; the supremely beautiful female figure (“Prajnaparamita”) now in the Leyden Museum; the perfect Bodhisattwa in the Glyptothek at Copenhagen; the calm and powerful Buddha, and the finely chiseled Avalokiteshvara (“The Lord who looks down with pity upon all men”), both from the great Javanese temple of Borobudur; or the massive primitive Buddha, and the lovely “moonstone” doorstep, of Anuradhapura in Ceylon. This dull list of works that must have cost the blood of many men in many centuries will suggest the influence of Hindu genius on the cultural colonies of India."

"Aurangzeb was a misfortune for Mogul and Indian art. Dedicated fanatically to an exclusive religion, he saw in art nothing but idolatry and vanity. Already Shah Jehan had prohibited the erection of Hindu temples;127 Aurangzeb not only continued the ban, but gave so economical a support to Moslem building that it, too, languished under his reign. Indian art followed him to the grave."

"But we cannot judge these works in their original form from what survives of them today; and doubtless there are clues to their appreciation that are not revealed to alien souls. Even the Occidental, however, can admire the nobility of the subject, the majestic scope of the plan, the unity of the composition, the clearness, simplicity and decisiveness of the line, and among many details the astonishing perfection of that bane of all artists, the hands. Imagination can picture the artist-priest who prayed in these cells and perhaps painted these walls and ceilings with fond and pious art while Europe lay buried in her early-medieval darkness. Here at Ajanta religious devotion fused architecture, sculpture and painting into a happy unity, and produced one of the sovereign monuments of Hindu art."

"Sages such as Sri Aurobindo who have meditated on Hindu iconography, and savants such as Ananda Coomara-swamy, Stella Kramrisch, and Alice Boner who have studied the subject, assure us that the forms and features of Hindu icons have a source higher than the normal reaches of the human mind. The icons are no photocopies of any human or animal forms as we find them in their physical frames. They are in fact crystallizations of the abstract into the concrete, of the infinite into the finite. They always point beyond themselves, and a contemplation of them always draws us from the outer to the inner.Hindu Šilpašãstras lay down not only technical formulas for carving holy icons in stone, and metal, and other materials. They also lay down elaborate rules about how the artist is to fast, and pray, and otherwise purify himself for long periods before he is permitted, if at all, to have a psychic image of the God or Goddess whom he wants to incarnate in a physical form. It is this sublime source of the Šilpašãstras which alone can explain a Sarnath Buddha, or a Chidambram NaTarãja, or a Vidisha Varãha, to name only a few of the large assembly of divine images inhabiting the earth. It is because this sublime source is not accessible to modern sculptors that we have to be content with poor copies which look like parodies of the original marvels."

"There are many Hindus who are legitimately proud of Hindu art, architecture, sculpture, music, painting, dance, drama, literature, linguistics, lexicography and so on. But they seldom take into account the fact that this great wealth of artistic, literary and scientific heritage will die if Hindu society which created it is no more there to preserve, protect and perpetuate it."

"India has always been an object ofyeaming, a realm of wonder, a world of magic."... "India is the land of dreams. India had always dreamt - more of the Bliss that is man's final goal. And this has helped India to be more creative in history than any other nation. Hence the effervescence of myths and legends, religious and philosophies, music, and dances and the different styles of architecture." ... "India has created a special momentum in world history as a country to be searched for."

"The Hindu architects produced buildings incomparably more rich and interesting as works of art. I have not visited Southern India, where, it is said, the finest specimen of Hindu architecture are to be found. But I have seen enough of the art in Rajputana to convince me of its enormous superiority to any work of the Mohammedans. The temples at Chitor, for example, are specimens of true classicism."

"Gold and silver bangles, ear-ornaments, necklaces, and other jewelry “so well finished and so highly polished,” says Marshall, “that they might have come out of a Bond Street jeweler’s of today rather than from a prehistoric house of 5,000 years ago.”"

""It will be seen that stage practice in Asia owes a great deal to India as an ancestral source. Indian influence on dance and theatre which are one and the same thing in Asia was like some great subterranean river following a spreading course and forming new streams on the way"."

""China also passed on to Japan the ceremonial dances of India with their music, which were Japanized as the solemn and colorful Bugaku"."

"[And here is what Sachs has to say about Bharata's ancient text the Natya-Shastra, which he agrees could be as early as the 4th century BCE and about which he tells us that it] "testifies to a well-established system of music in ancient India, with an elaborate theory of intervals, consonances, modes, melodic and rhythmic patterns". ... "Bharata's text was probably rehandled as early as antiquity, and it may confirm the idea that Bharata himself wrote his treatise much earlier" ... [He also tells us that this text establishes that it represents a stage where the] "slow transition from folk-song to art-song, from hundreds of tribal styles to one all-embracing music of India […] had long ago come to an end"."

"“I am sad to note that Indians know very little about their folk arts or the artistes…using this medium (TV) to destroy one’s own originality and to spread foreign culture is dangerous…the intellectuals…should recognise the fact that their own culture is dissolving like delta in the sea”. .... [When he had visited Gujarat some years earlier, he had met a Bhavai folk drama artiste who knew 200 plays. But, this time, the oldest Bhavai artiste knew only 65 plays:] “Between two generations, 135 Bhavais were lost! Nobody bothered to record them. They were lost forever”."

"So deep has the Mohammadan influence (on art) sunk that even in Ayodhya, the birthplace of Rama, the craft of wood work presents no image of the ever popular hero with the bow."

"It may also be noted in this connection that Hindu art practically went out of existence in Muslim States, though in a few places like Gujarat, its influence may be traced in Muslim architecture. After the thirteenth century, notable specimens of Hindu art are to be found only in the Hindu States of Vijayanagara and Mewar. Hindu culture did not flourish under Islam, and the few facts brought forward to prove the contrary may at best be likened to a few tiny oases which merely serve to bring into greater relief the barren desolation of the long stretch of arid desert. (Preface)"

"To judge of the past from the present, let us take the English nation in India. It has held India for a longer period than the Greeks did Bactria from the time of Alexander to that of As'oka, but yet it has produced no appreciable effect on the architecture of its neighbours. The Bhutanese and the Sikimites have not yet borrowed a single English moulding. The Nepalese, under the administration of Sir Jung Bahadur, are not a whit behind-hand of As ́oka and his people; Sir Jung went to Europe, which As'oka never did; still there is no change perceptible in Nepalese architecture indicative of a European amalgamation. The Kashmiris and the Afghans have proved equally conservative, and so have the Burmese. But to turn from their neighbours to the people of Hindustan : these have had intimate intercourse with Europeans now for over three hundred years, and enjoyed the blessings of English rule for over a century, and yet they have not produced a single temple built in the Saxon, or any other European style. Thus the conclusion we are called upon to accept is that what has not been accomplished by the intimate intercourse of three centuries, and the absolute sovereignty of a century, in these days of railways, and electric telegraphs, and mass education, was effected by the Greeks two thousand years ago simply by living as distant neighbours for eighty years or so."

"And it is precisely the totality of these devices of Harappan art that gives it an intangible yet unmistakable air of ‘Indianness’: thus Stella Kramrish, one of the most distinguished experts on Indian art, felt that ‘in certain respects some of the Mohenjo-daro figurines can be compared with the work by village potters and women made to this day in Bengal’."

"At a more formal level, she was convinced that ‘the beautiful Maurya sculpture presupposes continuity in the artistic traditions since the Harappa period’."

"The French Vedic scholar Jean Varenne also noted how ‘several of these [Harappan] themes (figures seated in the “lotus posture”, mythical animals, celebration of dance) appear as constants in Indian art’."

"In the same manner, if on finding mention of the word Yavanikâ (curtain) in the dramas of Kâlidâsa and other Indian poets, the Yâvanika (Ionian or Greek) influence on the whole of the dramatic literature of the time is ascertained, then one should first stop to compare whether the Aryan dramas are at all like the Greek. Those who have studied the mode of action and style of the dramas of both the languages must have to admit that any such likeness, if found, is only a fancy of the obstinate dreamer, and has never any real existence as a matter of fact. Where is that Greek chorus? The Greek Yavanika is on one side of the stage, the Aryan diametrically on the other. The characteristic manner of expression of the Greek drama is one thing, that of the Aryan quite another. There is not the least likeness between the Aryan and the Greek dramas: rather the dramas of Shakespeare resemble to a great extent the dramas of India. So the conclusion may also be drawn that Shakespeare is indebted to Kalidasa and other ancient Indian dramatists for all his writings, and that the whole Western literature is only an imitation of the Indian. Lastly, turning Professor Max Müller's own premisses against him, it may be said as well that until it is demonstrated that some one Hindu knew Greek some time one ought not to talk even of Greek influence."

"It is a strange thing to say, but I did grow up among what they call “Kawaii" culture.” I say strange as we all take it for granted. I guess we’ve been exposed to such [kawaii] images without even realizing it. They are everywhere so, it’s always been in my subconscious. I do not take this whole thing too negatively, but still I am a man, I am not fanatically into what is considered kawaii in general. I guess you could say that I do incorporate the idea, or what I consider kawaii into my work unconsciously."

"Yosuke Kurita, a professor of sociology at Tokyo Musashi University, said that one day, Japan’s “Kawaii” goods can rival luxury goods from Europe and the United States, and they can even replace European and American brand names and establish a position in the international market."

"Osaka University’s Professor Hideaki Uzumuzawa believes that this style reflects the fact that many Japanese people have simple ideas and do not want to grow up."

"Prof. Kuroda said that the upsurge of "Kawaii" will determine the future of Japan. If this boom hits the world, the future of Japan will be bright. If it fails, Japan’s influence on the world economic stage may gradually disappear."

"The Japanese are born into cute and raised with cute. They grow up to save money with cute (Miffy the bunny on Asahi Bank ATM cards), to pray with cute (Hello Kitty charm bags at Shinto shrines), to have sex with cute (prophylactics decorated with Monkichi the monkey, a condom stretched over his body, entreating, "Would you protect me?"). They see backhoes painted to look like giraffes and police kiosks fixed up like gingerbread houses. Each of Japan's 47 prefectures has its own adorable mascot, as do the Tokyo police and the government television station. Home-run-swatting ball players are handed a plush stuffed animal when they cross the plate. Well-heeled city women are dropping yen by the millions on a Kansai Yamamoto couture line called Super Hello Kitty. Teenage boys tattoo themselves with Badtz-Maru, the Sanrio company's mischievous, lumpy-headed penguin. Salarymen otherwise indistinguishable with their gray suits and cigarettes buy novelty cell phone straps adorned with plastic charms of their favorite cute characters: Thunder Bunny, Cookie Monster, Doraemon the robot cat. Cute is everywhere. They're soaking in it."

"One night I was walking on the street by a commercial area close to my neighborhood. I passed by a big garbage container.and I stopped, then with an oil stick bar I wrote, “I am CLANDESTINE CULTURE. Welcome to my World.” I didn't know why I did it, but I did it and it worked. I was feeling better after that. I released all my anger and all my frustration in just one phrase: CLANDESTINE CULTURE."

"Without a doubt, Banksy is the most influential street artist in the world today. It took him many years vandalizing the streets of London with his iconic stencils to receive a worldwide recognition. I am not sure, but I don’t think there is any city or any police department in the world that wants to have a vandal that is so famous as Banksy."

"I can find inspiration from the Renaissance to the contemporary artists, but definitely the most influential movement in my career has been Street Art. The importance of Street Art comes from the fact that this art is available to everyone anywhere, is made from any media using any technique. Street Art lets you do whatever you want in the way you want and do it without asking anybody. This freedom is what makes Street Art unique."

"Evolution is an undeniable process, therefore changes will occur in the future. "for sure", But I can’t tell you now what will happen with my work, because I don’t even know what course I will take."

"I will make this city an object of horror and something to whistle at. Every last one passing by it will stare in horror and whistle over all its plagues."

"I look before me at my lighted candles, I don’t want to turn around and see with horror How quickly the dark line is lengthening, How quickly the candles multiply that have been put out."

"Recent history has reminded us that racial terror makes for an effective freak show, as anyone following the cycle of police shooting, to protest, to grand jury acquittal already knows. H.P. Lovecraft once wrote of the difference between "mere physical fear" and "cosmic fear": the difference between being grossed out and, in the cosmic extreme, of having one’s sense of how the world works upended. True horror is cosmic fear. It’s there when I pass by cops at night, or when there’s a Confederate flag waving from the truck of a customer in the same restaurant as me. Horror, as Lovecraft described it, beckons "unexplainable dread." Keyword: unexplainable. Racism is no mystery. But whether it’s in store, at any given moment, certainly is."

"The work of horror, it has been argued, is to uncover what a repressive culture like ours would hope is dead and buried. But as far as public discourse is concerned, black culture — more often being repressed than doing the repressing — doesn’t have room or patience for fantasy."

"When I finally took my husband to see Pet Sematary a few months ago, I looked over during the film, and my husband had his hands over his face...it was too funny. Women are wired to give birth, so maybe there's something in us that makes us more immune to horror, films with girls in bikinis getting raped and killed make me angry, but a really chilling horror film where it really gets under your skin and like it really could happen, those are the ones I like."

"“Jokes and horror work on the same mechanism,” said writer Ellis. “Tension and release. For me, it’s more of an instinct for what a scene needs, and listening to the characters speak."

"I was the first publisher in these United States to publish horror comics. I am responsible, I started them. Some may not like them. That is a matter of personal taste. It would be just as difficult to explain the harmless thrill of a horror story to a Dr. Wertham as it would be to explain the sublimity of love to a frigid old maid."

"Women occupy a privileged place in horror film. The horror genre is a site of entertainment and excitement, of terror and dread, and one that relishes in the complexities that arise when boundaries – of taste, of bodies, or reason – are blurred and dismantled. It is also a site of expression and exploration that leverages the narrative and aesthetic horrors of the reproductive, the maternal and the sexual to expose the underpinnings of the social, political and philosophical othering of women. This is a consistent point of interest, even across the breadth of an already diverse genre and into that which might otherwise be deemed ‘the horrific’."

"Gynaehorror, as I will demonstrate, is horror that deals with all aspects of female reproductive horror, from the reproductive and sexual organs, to virginity and first sex, through to pregnancy, birth and motherhood, and finally to menopause and post-menpause. While my focus is horror film- the space in which such horror makes itself most visible, most fecund, even- this term is one that might be applied more broadly to connect visual representation and aesthetic expression to wider issues of sociocultural and philosophical analysis. This book offers a feminist interrogation of gynaehorror, but also offers a counter-reading of the gynaehorrific, that both accounts for and opens up new spaces within a mode of representation that has often been accused (and, in many cases, rightfully so) of being misogynistic. This is not to try to rehabilitate certain long-standing modes of imagery and narrative whose dominant register can, perhaps, be broadly coloured as anti-woman, but to explore the spaces between and within these modes that might offer more interesting ways of thinking through representation, cinematic expression, the reproductive and the nominally – and monstrously – feminine."

"The horror genre has changed throughout the years depending on what’s going on in the world. A lot of feminists will say the slasher films where women were being butchered were, in some ways, because women were becoming emancipated. They think killing women was a reaction to that, but a lot of times the women, in the end, were the heroes and the only one who lived so it had a feminist edge there. Then when we were all afraid of nuclear weapons there were all these films with Sci-Fi edge things that had been created out of nuclear waste. Who knows, they will always find something that is scary that is relevant to what we are going through. The resurgence of the Mummy came around when the gulf war was going on because people have always found the Middle East kind of mysterious. I think society can breathe “death”, as The Crypt Keeper would say, into horror."

"I've seen horrors, horrors that you've seen. But you have no right to call me a murderer. You have a right to kill me. You have a right to do that, but you have no right to judge me. It's impossible for words to describe what is necessary to those who do not know what horror means. Horror! Horror has a face, and you must make a friend of horror. Horror and moral terror are your friends. If they are not, then they are enemies to be feared. They are truly enemies."

"That is real horror and blood. When the Second World War finished I was 23 and already I had seen enough horror to last me a lifetime. I’d seen dreadful, dreadful things, without saying a word. So seeing horror depicted on film doesn't affect me much."

"What was the whole literature of supernatural horror but an essay to make death itself exciting?—wonder and strangeness to life’s very end."

"The horror experience is most scary when the player really isn’t sure whether their character is going to live or die – death and survival need to be on a constant see-saw. If there’s a situation where you’re not 100% sure that you can avoid or defeat the enemies, if you feel maybe there’s a chance you’ll make it – that’s where horror lies. Creating that situation is vital. Also, I don’t want to just stand there shooting dozens of enemies. Die! Die! Die! I don’t have the energy for that."

"Better an end with horror than a horror without end."

"...murder, mayhem, robbery, rape, cannibalism, carnage, necrophilia, sex, sadism, masochism ... and virtually every other form of crime, degeneracy, bestiality and horror."

"72% of people report watching at last one horror movie every 6 months, and the reasons for doing so, besides the feelings of fear and anxiety, was primarily that of excitement. Watching horror movies was also an excuse to socialise, with many people preferring to watch horror movies with others than on their own. People found horror that was psychological in nature and based on real events the scariest, and were far more scared by things that were unseen or implied rather than what they could actually see."

"During those times when anxiety is slowly increasing, regions of the brain involved in visual and auditory perception become more active, as the need to attend for cues of threat in the environment become more important. After a sudden shock, brain activity is more evident in regions involved in emotion processing, threat evaluation, and decision making, enabling a rapid response. However, these regions are in continuous talk-back with sensory regions throughout the movie, as if the sensory regions were preparing response networks as a scary event was becoming increasingly likely. Therefore, our brains are continuously anticipating and preparing us for action in response to threat, and horror movies exploit this expertly to enhance our excitement, explains Researcher Matthew Hudson."

"What is almost universally true of horror is that it’s been used as a tool to express social and political discontent for the marginalized since its creation. It’s a kind of popcorn propaganda that’s allowed writers and filmmakers to voice their anxieties while couching them in titillating narratives that would fly below any political censors."

"As far back as 1794, for instance, women like Ann Radcliffe were writing the original Final Girls, like the character of Emily in the Mysteries of Udolpho, who escapes vengeful, domineering men in a creepy old castle to become an autonomous woman. Radcliffe paved the way for Edgar Allan Poe (“The Tell-Tale Heart"), Robert Louis Stevenson (Strange Case of Dr. Jekyll and Mr. Hyde), Oscar Wilde (The Picture of Dorian Gray) and, of course, Mary Shelley (Frankenstein). These authors were popular in their time, but they’ve remained a collective compass for much of the horror to follow, and what they all have in common are concerns with ethics. Horror stories are, at their hearts, morality tales."

"Horror is barely ever on the side of the powerful or the mean. The good writers and filmmakers of the genre can tap into our very real fears and follow them to their logical conclusions."

"Going all the way back to the twenties, the horror movies of the Silent Era with Lon Chaney, there's alot of twisted people. The monster was just a mutilated person. When people came back from World War I they came back without limbs. They came back in somewhat-living pieces."

"I think it’s massively important for children to see diversity in the toy box, for disabled children to see themselves represented positively. It’s very affirming for them to see that they can be a fairy, they can be a wizard in a wheelchair, and all that kind of fun and possibility is open to them as well, and it’s also really important for children without disabilities, to see disability as a normal, fun thing, it’s not just something that exists in hospital or medical settings, it exists everywhere, and its time that thee toy manufacturers started to take note and include disabled children in their products."

"In this connection we may refer to fornicatory acts effected with artificial imitations of the human body, or of individual parts of that body. There exist true Vaucansons in this province of pornographic technology, clever mechanics who, from rubber and other plastic materials, prepare entire male or female bodies, which, as hommes or dames de voyage, subserve fornicatory purposes. More especially are the genital organs represented in a manner true to nature. Even the secretion of Bartholin's glans is imitated, by means of a "pneumatic tube" filled with oil. Similarly, by means of fluid and suitable apparatus, the ejaculation of the semen is imitated. Such artificial human beings are actually offered for sale in the catalogue of certain manufacturers of "Parisian rubber articles.""

"Rosie Eggleston, from the National Deaf Children's Society said: "Deafness is often misunderstood and deaf children usually grow up knowing few people, with first-hand experience of what they're going through. "It's so important for them to see deafness represented in as many areas as possible, because it helps them understand that there are other people just like them.""

"We find in the story of the Sand-Man the other theme on which Jentsch lays stress, of a doll which appears to be alive. Jentsch believes that a particularly favourable condition for awakening uncanny feelings is created when there is intellectual uncertainty whether an object is alive or not, and when an inanimate object becomes too much like an animate one. Now, dolls are of course rather closely connected with childhood life. We remember that in their early games children do not distinguish at all sharply between living and inanimate objects, and that they are especially fond of treating their dolls like live people. In fact, I have occasionally heard a woman patient declare that even at the age of eight she had still been convinced that her dolls would be certain to come to life if she were to look at them in a particular, extremely concentrated, way. So that here, too, it is not difficult to discover a factor from childhood. But, curiously enough, while the Sand-Man story deals with the arousing of an early childhood fear, the idea of a ‘living doll’ excites no fear at all; children have no fear of their dolls coming to life, they may even desire it. The source of uncanny feelings would not, therefore, be an infantile fear in this case, but rather an infantile wish or even merely an infantile belief. There seems to be a contradiction here; but perhaps it is only a complication, which may be helpful to us later on."

"The Toy Story movies are true to the toys they represent, as we learn from the movies the kind of lessons we learn in life, and work though emotionally and intellectually with action figures: learning our place in the scheme of the world through self-knowledge, the choice between protecting our hearts by isolating ourselves emotionally from others or risking heart-break, accepting abandonment, old age and death. My own realization of growing up came when I realized that my huge Lego diorama, much like the one the dad has in The Lego Movies was not something adults had, and that in growing up I would have to give it up. But in the modern world the toys we play with are not faceless dolls. The toys are G.I. Joe and Barbie, Pokemon, Batman and Superman, The X-Men and Spiderman and The Hulk, all owned by a handful of megacorporations. For many Americans childhood imitations are not of weddings and festivals, but of things seen on screens, TV shows and movies, things also owned by that same handful of mega-corporations. The blockbuster film industry, with its endless parade of nostalgic heroes from childhood and an attendant emotional maturity, is the playground for 35-year-old- ticket buyers who are told they never have to leave these things behind."

"Wordsworth's child plays with his toys in a world unconcerned with brand power, and he tells his own stories, using public domain situations. Star Wars was not designed to sell toys, but Lucas was smart enough to keep the merchandising rights, and, with help from Kenner, a toy empire was founded. The story came first, but the merchandising threatened to takeover. In the case of Transformers, the action figures were absolutely primary, the show was made to drive toy sales. But as the generation raised on Star Wars and Transformers became filmmakers in their own right, the primary-secondary relationship became blurry. In an interview with filmmaker Kevin Smith, Paul Dini, who created the cartoon Young Justice among other, talked about a problem he had with the executives at the Cartoon Network. They cancelled his show, Tower Prep even though his audience was on the rise. The reason: the audience numbers were on the rise because girls were watching the show and that's a problem because girls don't buy the toys, and the money comes from the toys. Because the relationship between action figures and movies and television are symbiotic it is hard to know if this is a case of the tail wagging the dog. When a 37-year-old director, whose childhood bedroom was littered with Transformers and Star Wars figures, steps up to direct the latest feature from Marvel, to what extend is he simply playing with action figures on a gigantic budget? To what extent is Chris Pratt a very expensive action figure, to be posed and moved around with the other toys?"

"Before Barbie, dolls were babies, to be fed and burped and bathed and wheeled around in prams and put down for naps."

"As Kozinski would write in his opinion in Mattel v. MGA, it’s possible to make dolls that don’t look like porn stars but “there’s not a big market for fashion dolls that look like Patty and Selma Bouvier”—a reference to Lisa Simpson’s big-nosed, wide-waisted, thick-ankled aunts."

"Empowerment feminism is a cynical sham. As Margaret Talbot once noted in these pages, “To change a Bratz doll’s shoes, you have to snap off its feet at the ankles.” That is pretty much what girlhood feels like. In a 2014 study, girls between four and seven were asked about possible careers for boys and girls after playing with either Fashion Barbie, Doctor Barbie, or, as a control, Mrs. Potato Head. The girls who had played with Mrs. Potato Head were significantly more likely to answer yes to the question “Could you do this job when you grow up?” when shown a picture of the workplaces of a construction worker, a firefighter, a pilot, a doctor, and a police officer. The study had a tiny sample size, and, like most slightly nutty research in the field of social psychology, has never been replicated, or scaled up, except that, since nearly all American girls own a Barbie, the population of American girls has been the subject of the scaled-up version of that experiment for nearly six decades."

"It’s no accident that #Metoo started in the entertainment and television-news businesses, where women are required to look as much like Barbie and Bratz dolls as possible, with the help of personal trainers, makeup artists, hair stylists, personal shoppers, and surgeons."

"Japan’s oldest “love doll” manufacturer wants to strip the sex toys of their seedy image and encourage people to see them as works of art instead. “Even now there is still a stigma,” said a spokesperson for Tokyo-based sex doll maker Orient Industry, which recently celebrated its 40th anniversary with a three-week exhibition showing the evolution of its dolls that drew over 10,000 visitors. “But at our exhibition there were lots of men and women visitors — more women than men, in fact,” he said. “There were young and old, men and women, a really wide range of people. I think people came because they had heard the reputation of how beautiful our dolls are. We want to get rid of the stigma.”"

"Noted photographers such as Laurie Simmons and Kishin Shinoyama have made the company’s dolls the subject of books and exhibitions, with the latter showing his work at Orient Industry’s anniversary event that ran from May 20 to June 11 at Shibuya’s Atsukobarouh gallery. The spokesperson believes that validation from the art world is helping to shift attitudes toward sex dolls. “We get a lot of different customers,” he said. “Some are only interested in buying dolls for sex, some want to buy them so they can take photos of them, and some want to take them out and about with them. Some have blogs where they write about living with them."

"حَدَّثَنَا مُحَمَّدٌ، أَخْبَرَنَا أَبُو مُعَاوِيَةَ، حَدَّثَنَا هِشَامٌ، عَنْ أَبِيهِ، عَنْ عَائِشَةَ ـ رضى الله عنها ـ قَالَتْ كُنْتُ أَلْعَبُ بِالْبَنَاتِ عِنْدَ النَّبِيِّ صلى الله عليه وسلم وَكَانَ لِي صَوَاحِبُ يَلْعَبْنَ مَعِي، فَكَانَ رَسُولُ اللَّهِ صلى الله عليه وسلم إِذَا دَخَلَ يَتَقَمَّعْنَ مِنْهُ، فَيُسَرِّبُهُنَّ إِلَىَّ فَيَلْعَبْنَ مَعِي‏.‏"

"In Shinto, everything has a soul. Even if you don't want the dolls anymore, you can’t abandon them. There is a special ceremony that is performed for them at a shrine. It’s like a ceremony for a dead person. Since dolls have a human form, they must be treated as such."

"It is a common belief in Japan that dolls are mirrors. The dolls show their owner’s true self."

"Competition from video and mobile games has diminished the interest in action figures, allow a child to fantasise about taking on the role of a heroic character. Video and mobile games greatly enhance that ability. The age appeal of action figures has been declining for decades due to the rise of video games."

"In 2000, only two films in the top 10 US box office hits would have been likely to generate a licensed character toy, X-Men and How the Grinch Stole Christmas, perhaps Mission: Impossible II. But in 2017, nine out of the 10 top films had licensed characters associated with them, from Star Wars to Beauty and the Beast to Wonder Woman to Thor. So, consumers are spending about the same amount of money on toys in total, but now they have far more choices to spend it on. The battle is over the share of a parent’s pocketbook."

"From my experience, kids are most interested in movie merchandise from about three to eight years old,” says Lisa Wragg, who worked in children’s licensing for many years. “At about eight, it tends to wane as they get more into music, artists and social media."

"How exactly, in the last half decade, has the "action figure", in all of its myriad cross-marketed incarnations, captured the imaginations of children and adults? What "discrepancy" of scale, schema, sex, and spirit thus makes miniaturized men, women, and monsters of resin, plastic, lead, rubber, or wood so functionally prevalent in global commerce and individual fantasy? In Sherry Turkle's view, "evocative objects" such as action figures "bring philosophy down to Earth. When we focus on objects, physicians and philosophers, psychologists and designers, artists and engineers are able to find common ground in everyday experience" (Turkle 8). Applying Levi-Strauss' notion of the bricoleur, or a "practitioner of the science of the concrete" who "manipulates a closed set of materials to develop new thoughts" out of bricolage in tandem with Piaget's assessment of instructive play rooted in "close to the object thinking" meant to heighten awareness of the "number, space, time, causality, and life" of things, Turkle provides a profoundly simple perspective on how "object play-for adults as well as children-engaged the heart as well as the mind" (Turkle 308-309). How can we examine our unique attraction to miniature plastic effigies and their contexts?"

"To start, the most abject Happy Meal toy lost in the deepest layers of the toy bin still signifies the epitome of polysemic postmodern participatory commodity culture. At the same time, the expertly-graded, mint-in-blisterpack Star Wars rebel of Ideal Posin' Supergirl cocooned for eternity within its EcoStar PC50 Recycled PET acryllic clam shell against all possible risk, play, or abuse can command thousands of dollars on the collector/investor/speculator market. From garage sales and Goodwill fodder to certified collectibles and international Internet auction houses, the action figure circulates through complex aesthetic, psychological, and socio-economic conditions of unusual scope and power. Its defining characteristics seem obvious enough. An action figure is generally a manufactured personality or character built to a diminished scale. It is usually, though not necessarily humanoid, and often designed to encourage manipulation, posing, or play including movable body parts, interchanging costumes, accessories, weapons, prosthetics, and related apparatus. At times, these accoutrements can expand to include elaborate vehicles, carrying cases, and playsets so ingeniously and engineered that they are sometimes more engaging in their miniaturized discrepancy than the figured body or character itself. Certain bases, expanded worlds, and microcosmic mock-ups tend to develop their own specialized mythologies. Iconic examples include Shredder and Krang's Technodrome of mechanized evil from the Teenage Mutant Ninja Turtles franchise and G.I. Joes remarkably Space Shuttle Defiant. From the figures themselves to the gear, couture, and conveyances that enable and transport them, the action figure always signifies a larger spectacle well beyond its tiny idealized body."

"The modern sex doll may has a direct antecedent in the cotton sex doll created and used by sailors on long voyages, referred to as dames de voyage (Bloch, 1908; Ferguson, 2010; Wolf, 2010). These dolls were created by French and Spanish sailors during the height of their naval empires in the seventeenth century (Ferguson, 2010). The navies of Imperial Germany and Japan reportedly sanctioned the widespread use of dames de voyage, as preferable to homosexuality. Both navies reportedly manufactured their own versions of the dames de voyage (Wolf, 2010)."

"A popular urban legend claims the German Navy became the first creator of the modern sex-doll, Model Borghild (Ferguson, 2010; Lenz, n.d.; Pulham, 2008; Wolf, 2010). According to rumor and urban myth, the doll was part of the Nazi’s “field-hygienic project,” initiated to counterbalance the sexual drive of storm troopers (Lenz, n.d.). However, the existence of the author, “Lenz”, and the reports on the so-called Borghild doll are unverifiable, and are possibly hoaxes (Ferguson, 2010; Schewe & Moreno, 2011). The Japanese had a version of a dames de voyage, called a do-ningyo. A description is cited from a Japanese work titled “The Art of Quickly Seducing a Novice” in Tabori’s book, The Humor and Technology of Sex (1969): A man who is forced to sleep alone can obtain pleasure with a do-ningyo. This is the body of a female doll, the image of a girl of thirteen or fourteen with a velvet vulva. But these dolls are only for people of high rank. (p. 337) Dolls and statues created and used for sexual purposes are cross-cultural phenomena in various forms for centuries. The absence of historical information about production, distribution, and sales, or customer satisfaction data on sex dolls leaves the history of sex dolls open to considerable speculation. Until the emergence of the modern sex dolls, records of sales are found only in rumored accounts of sex doll use, and antique advertisements, such as the one translated by Henry Carey from a Paris circular in 1902. It advertises the sale of a complete, custom sex doll made to fit customer specifications: “All moves, arms, legs, buttocks, head, eyes; a perfect likeness of the person whose photograph is sent...the complete apparatus, guaranteed against breakage, man or woman, 3000 francs” (Cary, 1922, p. 50)."

"According to Orient Industry, the company sells approximately 50-80 dolls per month and estimates there are over 20,000 doll-owners in Japan alone (Galbraith, 2008; Maeda, 2007). A spokesman for Orient Industry reports that nearly all of the people who buy these dolls are single men and about 60 percent of them are over the age of 40 (Maeda, 2007). "Nowadays, women are sometimes more dominant than men in the real world, and they don't always pay attention to men," said Hideo Tsuchiya, the company's president. "More and more men are finding themselves miserable so we're making these dolls partly in support of men" (Maeda, 2007). Since the 1950’s the Japanese government began using sex dolls to enhance the lives of its workers in remote outposts such as the South Pole (Galbraith, 2008)."

"The Sex doll industry has been transformed by advances in computer generated images (CGI) and silicone technology. Hollywood special effects technicians began using advances in these technologies to create realistic corpses for films. (Ferguson, 2010). These mannequins were the beginnings of the realistic, functional sex doll."

"Political fascism in Europe, beginning in the 1930’s, affected German and Austrian sex researchers, forcing many to shut down research and development institutes and flee their countries. The Berlin Institute for Sexual Science was destroyed by fascist gangs in 1933 (Meyenburg & Sigusch, 1977). The psychological community has contributed little to literature on the sex-doll phenomenon. The sex research at the turn of the 20th century described the use of sex dolls and statues as a pathology, without supporting empirical evidence (Schewe & Moreno, 2011). Iwan Bloch and Havelock Ellis likened statue love to necrophilia: “Closely allied to these necrophilist tendencies is the remarkable ‘Venus statuaria’...apart from certain aesthetic motives...we have to do, for the most part, with the same motives that give rise to necrophilia—sadistic, masochistic, and fetishistic” (Bloch, 1908. p. 467)"

"In an interview by Scott for Metro Online, forensic psychologist and Leicester University lecturer Vincent Egan commented on doll-owners: “They need to think more about their relationships with the people they say they find sexually exciting,” he says. “Perhaps they can't fantasize easily themselves and the dolls help.” When contacted via email by this author to clarify his statements Dr. Egan said: Any prosthesis is an adaptation to a problem (or perceived problem). Some people may use sex dolls due to disturbed attachments; others may simply not have attachments to start... For men, who may program their sexuality to rely on appearance via pornography, the appearance of the doll will become the key to the eroticism, rather than the (sometimes) emotional, playful, dynamic and interactive physicality of sex (Dr. Vincent Egan, personal communication, July, 2011)."

"…the truths of Christianity are constant, unchanging, and meant for all people, times, and places. But the methods by which truth is articulated and practiced must be culturally appropriated, and therefore constantly translated …if doctrine is constant and practice is constantly changing, the result is living orthodoxy."

"To be entirely against taking anything from another culture would be to condemn everything to memoir — and of all the genres of literature, I think memoir deserves the reputation for being the least true. It’s awkward to recognize that “Madame Bovary” couldn’t be better written by a French housewife. Flaubert himself identified with Emma just enough. RZA (who with his friends referred to Staten Island as “Shaolin”) saw himself, just enough, in tales of underground kung fu rebellion leaders. But most of us instinctively have more faith in what someone outside the center of power has to say; what of this instinct is legitimate, and what of it is too blunt? We remember that it was a gay, bourgeois Jew who best portrayed the French aristocracy, and not the reverse. Even though we also know that Tolstoy, from his family estate, could write any character, from peasants to princes. In the case of Wu-Tang Clan, the distribution of power between the culture they came from and the culture they borrowed from is usefully unclear."

"The “exchange” in cultural exchange suggests you give something in return for having taken something. If it’s culture that’s taken, then presumably what’s given back is the art. In which case the difference between appropriation and exchange, to be (maybe absurdly) logical about it, would have to lie with an assessment of the value of the art itself. Of course we can’t really quantify the value of what is taken or the value of the art, but that would be the logic. The more you take, the more you have to give back — the better the work has to be. Maybe when we say it’s wrong to take something, we really mean, What you’ve given back is far too poor, too mediocre — it’s bad art. I’ve never heard anyone accuse the hip-hop group Wu-Tang Clan of appropriating Chinese culture. This may be because I haven’t talked to enough people. But maybe it is because the music that came from a group of hip-hop kids from Staten Island who watched a lot of kung fu movies in trips to Times Square was that good."

"The [western] intellectual property rights system and the (mis)appropriation of Indigenous knowledge without the prior knowledge and consent of Indigenous peoples evoke feelings of anger, or being cheated."

"But what is cultural appropriation and exchange? Would it have made a difference if the traveler’s kaffiyeh had been manufactured and purchased in, say, Kuwait City, instead of an Urban Outfitters store in Toronto? Determining such a distinction is also, as with so many things, dependent on intent. Appropriations are expressions of ignorance or aggression, when objects, ideas, lived experiences or points of view are not so much examined as exploited and performed. Exchanges, conversely, suggest a certain sort of generosity, an openness to discussion and an invitation to reciprocity."

"The problem is, as with most everything, there’s a certain subjectivity to the entire affair. Intent can be difficult to discern, and it’s certainly not quantifiable in any precise way. But what I do know is that underlying the idea of appropriation is the sense that something — or someone — is just there for the taking: A style of dress, a personal narrative, an entire continent. You can’t always prove appropriation. But you usually know it when you see it."

"'Dressing up as "another culture", is racist, and an act of privilege. Not only does it lead to offensive, inaccurate, and stereotypical portrayals of other people's culture ... but is also an act of appropriation in which someone who does not experience that oppression is able to "play", temporarily, an "exotic" other, without experience any of the daily discriminations faced by other cultures.'"

"One need not look far to see that Hollywood often fails to provide both representation of, and employment to, members of marginalized communities. Movements like #OscarsSoWhite, and continued pushback against cisgender actors playing trans roles, have been increasingly covered in media the past few years. Yet the Gay for Pay Problem has not had the same attention, at least in the recent past, as other ways that Hollywood is willing to tell stories from marginalized groups without hiring marginalized people."

"We assert a posture of zero-tolerance for any "white man's shaman" who rises from within our own communities to "authorize" the expropriation of our ceremonial ways by non-Indians; all such "plastic medicine men" are enemies of the Lakota, Dakota and Nakota people."

"Taking intellectual property, traditional knowledge, cultural expressions, or artifacts from someone else's culture without permission. This can include unauthorized use of another culture's dance, dress, music, language, folklore, cuisine, traditional medicine, religious symbols, etc. It is most likely to be harmful when the source community is a minority group that has been oppressed or exploited in other ways or when the object of appropriation is particularly sensitive, e.g. sacred objects."

"What happens further in the Plastic Shaman's [fictitious] story is highly irritating from a perspective of cultural hegemony. The Injun elder does not only willingly share their spirituality with the white intruder but, in fact, must come to the conclusion that this intruder is as good an Indian as they are themselves. Regarding Indian spirituality, the Plastic Shaman even out-Indians the actual ones. The messianic element, which Plastic Shamanism financially draws on, is installed in the Yoda-like elder themselves. They are the ones – while melodramatically parting from their spiritual offshoot – who urge the Plastic Shaman to share their gift with the rest of the world. Thus Plastic Shamans wipe their hands clean of any megalomaniac or missionizing undertones. Licensed by the authority of an Indian elder, they now have every right to spread their wisdom, and if they make (quite more than) a buck with it, then so be it.—The neocolonial ideology attached to this scenario leaves less room for cynicism."

"Indigenous peoples have the right to maintain, control, protect and develop their cultural heritage, traditional knowledge and traditional cultural expressions, as well as the manifestations of their sciences, technologies and cultures, including human and genetic resources, seeds, medicines, knowledge of the properties of fauna and flora, oral traditions, literatures, designs, sports and traditional games and visual and performing arts. They also have the right to maintain, control, protect and develop their intellectual property over such cultural heritage, traditional knowledge, and traditional cultural expressions."

"The Theatre of the Oppressed is theatre in this most archaic application of the word. In this usage, all human beings are Actors (they act!) and Spectators (they observe!)."

"When does a session of The Theatre of the Oppressed end? Never – since the objective is not to close a cycle, to generate a catharsis, or to end a development. On the contrary, its objective is to encourage autonomous activity, to set a process in motion, to stimulate transformative creativity, to change spectators into protagonists. And it is precisely for these reasons that the Theatre of the Oppressed should be the initiator of changes the culmination of which is not the aesthetic phenomenon but real life."

"In truth the Theatre of the Oppressed has no end, because everything which happens in it must extend into life. ... The Theatre of the Oppressed is located precisely on the frontier between fiction and reality – and this border must be crossed. If the show starts in fiction, its objective is to become integrated into reality, into life. Now in 1992, when so many certainties have become so many doubts, when so many dreams have withered on exposure to sunlight, and so many hopes have become as many deceptions – now that we are living through times and situations of great perplexity, full of doubts and uncertainties, now more than ever I believe it is time for a theatre which, at its best, will ask the right questions at the right times. Let us be democratic and ask our audiences to tell us their desires, and let us show them alternatives. Let us hope that one day – please, not too far in the future – we’ll be able to convince or force our governments, our leaders, to do the same; to ask their audiences – us – what they should do, so as to make this world a place to live and be happy in – yes, it is possible – rather than just a vast market in which we sell our goods and our souls. Let’s hope. Let’s work for it!"

"INK, n. A villainous compound of tannogallate of iron, gum-arabic and water, chiefly used to facilitate the infection of idiocy and promote intellectual crime. The properties of ink are peculiar and contradictory: it may be used to make reputations and unmake them; to blacken them and to make them white; but it is most generally and acceptably employed as a mortar to bind together the stones of an edifice of fame, and as a whitewash to conceal afterward the rascal quality of the material. There are men called journalists who have established ink baths which some persons pay money to get into, others to get out of. Not infrequently it occurs that a person who has paid to get in pays twice as much to get out."

"But words are things, and a small drop of ink, Falling, like dew, upon a thought produces That which makes thousands, perhaps millions think."

"In the ink of our sweat we will find it yet, The song that is fit for men!"

"The ink of scholars (used in writing) is weighed on the Day of Judgement with the blood of martyrs and the ink of scholars outweighs the blood of martyrs."

"The sky is now indelible ink, The branches reft asunder; But you and I we do not shrink; We love the lovely thunder."

"A match as a pen Blood on the floor as ink The forgotten gauze cover as paper But what should I write? I might just manage my address. This ink is strange; it clots. I write you from a prison in Greece."

"O, that her hand, In whose comparison all whites are ink, Writing their own reproach, to whose soft seizure The cygnet's down is harsh and spirit of sense Hard as the palm of ploughman."

"Let there be gall enough in thy ink, though thou write with a goose-pen, no matter."

"Is the Makapansgat pebble “art”? In modern times, many artists have created works critics universally consider art by removing objects from their normal contexts, altering them, and then labeling them. In 1917, for example, Marcel Duchamp chose a ceramic urinal, set it on its side, called it Fountain, and declared his “readymade” worthy of exhibition among more conventional artworks. But the artistic environment of the past century cannot be projected into the remote past. For art historians to classify as an “artwork” a found object such as the Makapansgat pebble, it must have been modified by human intervention beyond mere selection—and it was not. In fact, evidence indicates that, with few exceptions, it was not until three million years later, around 30,000 BCE, when large parts of northern Europe were still covered with glaciers during the Ice Age, that humans intentionally manufactured sculptures and paintings. Only then does the story of art through the ages really begin."

"Sculpture was not one of the major arts, not even a fine art, to the Chinese. By an act of rare modesty the Far East refused to class the human body under the rubric of beauty; its sculptors played a little with drapery, and used the figures of men—seldom of women—to study or represent certain types of consciousness; but they did not glorify the body. For the most part they confined their portraits of humanity to Buddhist saints and Taoist sages, ignoring the-athletes and courtesans who gave such inspiration to the artists of Greece. In the sculpture of China animals were preferred even to philosophers and saints."

"Meanwhile another influence was entering China, in the form of Buddhist theology and art. It made a home for itself first in Turkestan, and built there a civilization from which Stein and Pelliot have unearthed many tons of ruined statuary; some of it seems equal to Hindu Buddhist art at its best. The Chinese took over those Buddhist forms without much alteration, and produced Buddhas as fair as any in Gandhara or India."

"One of the best of the Chinese Buddhist shrines is the Temple of the Sleeping Buddha, near the Summer Palace outside Peking; Fergusson called it “the finest architectural achievement in China.”"

"As Christianity transformed Mediterranean culture and art in the third and fourth centuries after Christ, so Buddhism, in the same centuries, effected a theological and esthetic revolution in the life of China. While Confucianism retained its political power, Buddhism, mingling with Taoism, became the dominating force in art, and brought to the Chinese a stimulating contact with Hindu motives, symbols, methods and forms. The greatest genius of the Chinese Buddhist school of painting was Ku K’ai-chih, a man of such unique and positive personality that a web of anecdote or legend has meshed him in."

"The greatest painter of the T’ang epoch, and, by common consent, of all the Far East, rose above distinctions of school, and belonged rather to the Buddhist tradition of Chinese art. Wu Tao-tze deserved his name—Wu, Master of the Tao or Way, for all those impressions and formless thoughts which Lao-tze and Chuang-tze had found too subtle for words seemed to flow naturally into line and color under his brush."

"The Black Artist's role in America is to aid in the destruction of America as he knows it. His role is to report and reflect so precisely the nature of the society, and of himself, in that society, that other men will be moved by the exactness of his rendering, and if they are black men, grow strong through this moving, having seen their own strength, and weakness, and if they are white men, tremble, curse, and go mad, because they will be drenched with the filth of their evil."

"African-American artists has greatly enriched our quality of life and created one of our Nation's most treasured art forms. As universal and original expressions of the human experience, their body of work, both past and present, entertains, inspires, and thrills countless people around the world."

"Mankind has always recognized the importance of entertainment and its value in rebuilding the bodies and souls of human beings. But it has always recognized that entertainment can be of a character either helpful or harmful to the human race, and, in consequence, has clearly distinguished between: Entertainment which tends to improve the race, or, at least, to recreate and rebuild human being exhausted with the realities of life; and Entertainment which tends to degrade human beings, or to lower their standards of life and living. Hence the moral importance of entertainment is something which has been universally recognized. It enters intimately into the lives of men and women and affects them closely; it occupies their minds and affections during leisure hours, and ultimately touches the whole of their lives. A man may be judged by his standard of entertainment as easily as the standard of his work. So correct entertainment raises the whole standard of a nation. Wrong entertainment lowers the whole living condition and moral ideals of a race."

"Art enters intimately into the lives of human beings. Art can be morally good, lifting men to higher levels. <br This has been done thru good music, great painting, authentic fiction, poetry, drama. Art can be morally evil in its effects. This is the case clearly enough with unclean art, indecent books, suggestive drama. The effect on the lives of men and women is obvious."

"The motion pictures which are the most popular of modern arts for the masses, have their moral quality from the minds which produce them and from their effects on the moral lives and reactions of their audiences. This gives them a most important morality. (1) They reproduce the morality of the men who use the pictures as a medium for the expression of their ideas sand ideals. (2) They affect the moral standards of those who thru the screen take in these ideas and ideals. In the case of the motion pictures, this effect may be particularly emphasized because no art was so quick and so widespread an appeal to the masses. It has become in an incredibly short period, the art of the multitudes."

"The motion picture has special Moral obligations: (A) Most arts appeal to the mature. This art appeals at once to every class-mature, immature, developed, undeveloped, law abiding, criminal. Music has its grades for different classes; so has literature and drama. This art of the motion picture, combining as it does the two fundamental appeals of looking at a picture and listening to a story, at once reaches every class of society. (B) Because of the mobility of a film and the ease of picture distribution, and because of the possibility of duplicating positives in large quantities, this art reaches places unpenetrated by other forms of art."

"Psychologically, the larger the audience, the lower the moral mass resistance to suggestion."

"No picture should lower the moral standards of those who see it. This is done: (a) When evil is made to appear attractive, and good is made to appear unattractive. (b) When the sympathy of the audience is thrown on the side of crime, wrong-doing, evil, sin. The same thing is true of a film that would throw sympathy against goodness, honor, innocence, purity, honesty."

"“Sympathy with a person who sins”, is not the same as sympathy with the sin or crime of which he is guilty. We may feel sorry for the plight of the murderer or even understand the circumstances which led him to his crime; we may not feel sympathy with the wrong which he has done. The presentation of evil is often essential for art, or fiction, or drama. This in itself is not wrong, provided: (a) That evil is not presented alluringly. Even if later the evil is condemned or punished, it must not be allowed to appear so attractive that the emotions are drawn to desire or approve so strongly that later they forget the condemnation and remember only the apparent joy of the sin. (b) That thru out the presentation, evil and good are never confused and that evil is always recognized clearly as evil. (c) That in the end the audience feels that evil is wrong and good is right."

"Law, natural or divine, must not be belittled, ridiculed, nor must a sentiment be created against it. (A) The presentation of crimes against the law, human or divine, is often necessary for the carrying out of the plot. But the presentation must not throw sympathy with the criminal as against the law, nor with the crime as against those who must punish it. (B) The courts of the land should not be presented as unjust. III. As far as possible, life should not be misrepresented, at least not in such a way as to place in the minds of youth false values on life."

"In accordance with the general principles laid down: (1) No plot theme should definitely side with evil and against good. (2) Comedies and farces should not make fun of good, innocence, morality or justice. (3) No plot should be so constructed as to leave the question of right or wrong in doubt or fogged. (4) No plot should by its treatment throw sympathy of the audience with sin, crime, wrong-doing or evil. (5) No plot should present evil alluringly."

"Vulgarity may be carefully distinguished from obscenity. Vulgarity is the treatment of low, disgusting, unpleasant subjects which decent society considers outlawed from normal conversation. Vulgarity in the motion pictures is limited in precisely the same way as in decent groups of men and women by the dictates of good taste and civilized usage, and by the effect of shock, scandal, and harm on those coming in contact with this vulgarity. (1) Oaths should never be used as a comedy element. Where required by the plot, the less offensive oaths may be permitted (2) Vulgar expressions come under the same treatment as vulgarity in general. Where women and children to see the film, vulgar expressions (and oaths) should be cut to the absolute essentials required by the situation. (3) The name of Jesus Christ should never be used except in reverence."

"Obscenity is concerned with immorality, but has the additional connotation of being common, vulgar and coarse. (1) Obscenity in fact, that is, in spoken word, gesture, episode, plot, is against divine and human law, and hence altogether outside the range of subject matter or treatment. (2) Obscenity should not be suggested by gesture, manner, etc., (3) An obscene reference, even if it is expected to be understandable to only the more sophisticated part o the audience, should not be introduced. (4) Obscene language is treated as all obscenity."

"Costume GENERAL PRINCIPLES (1) The effect of nudity or semi-nudity upon the normal man or woman, and much more upon the young person, has been honestly recognized by all law-makers and moralists. (2) Hence the fact that the nude or semi-nude body may be beautiful does not make its use in the films moral. For in addition to its beauty, the effect of the nude or semi-nude on the moral individual must be taken into consideration. <br (3) Nudity or semi-nudity used simply to put a “punch” into a picture comes under the head of immoral actions as treated above. It is immoral in its effect upon the average audience. (4) Nudity, or semi-nudity is sometimes apparently necessary for the plot. Nudity is never permitted. Semi-nudity may be permitted under conditions. PARTICULAR PRINCIPLES (1) The more intimate parts of the human body are the male and female organs and the breasts of a woman. (a) They should never be uncovered. (b) They should not be covered with transparent or translucent material. (c) They should not be clearly and unmistakably outlined by the garment."

"Dancing (1) Dancing in general is recognized as an art and a beautiful form of expressing human emotion. (2) Obscene dances are those: (a) Which suggest or represent sexual actions, whether performed solo or with two or more; (b) Which are designed to excite an audience, to arouse passions, or to cause physical excitement. HENCE: Dances of the type known as "Kooch" or "Can-Can," since they violate decency in these two ways, are wrong. Dances with movement of the breasts, excessive body movement while the feet remain stationary, the so-called "belly dances" these dances are immoral, obscene, and hence altogether wrong."

"In July of 1934 an editorial in The Commonweal, a semi-official organ of the Catholic church, declared that the “muck merchants” of Hollywood, that “fortress of filth” that had been destroying the moral fiber of the American people, had finally been brought to its knees by the Catholic church and its Legion of Decency. In less than a year the church had recruited millions of Americans of all religious denominations to pledge not to attend “immoral” movies. With a national depression already threatening Hollywood’s financial stability, movie czar Will Hays, head of the Motion Picture Producers and Distributors of American (MPPDA), accepted the terms of surrender dictated by the church and its legions. The truce struck between Hays and the Most Reverend John T. McNicholas, Archbishop of Cincinnnati, and written and negotiated by Martin Quigley, publisher of “The Motion Picture Herald”, signaled a turning point in a 30-year battle among religious leaders, women’s groups, civic organizations, municipal and state censorship boards, and the motion picture industry over the content of Hollywood films. The victory took the form of a new agency inside the MPPDA, the industry's trade association. The Catholics demanded that Hays create Production Code Administration (PCA) to enforce the censorship code adopted by the industry in 1930. The code, written by a Catholic priest, had not, in the opinion of the church, been enforced. The church demanded, and Hays agreed, that a staunch lay Catholic, namely Joseph I. Breen, would head the PCA and interpret the code. To guarantee that Breen would have enforcement powers, the agreement forced every studio to submit scripts to the PCA before production. The studios agreed that no production would begin without script approval and that no film would be distributed with a PCA seal of approval. The MPPDA was given power to levy a $25,000 fine against any violator. But that was not all. The church demanded that Hollywood permanently withdraw from circulation films it viewed as “immoral” and that local theater owners be empowered to cancel any film currently in circulation if they judged it to be “immoral.”"

"The comic-book medium, having come of age on the American cultural scene, must measure up to its responsibilities. Constantly improving techniques and higher standards go hand in hand with these responsibilities. To make a positive contribution to contemporary life, the industry must seek new areas for developing sound, wholesome entertainment. The people responsible for writing, drawing, printing, publishing, and selling comic books have done a commendable job in the past, and have been striving toward this goal. Their record of progress and continuing improvement compares favorably with other media in the communications industry. An outstanding example is the development of comic books as a unique and effective tool for instruction and education. Comic books have also made their contribution in the field of letters and criticism of contemporary life."

"(1) Crimes shall never be presented in such a way as to create sympathy for the criminal, to promote distrust of the forces of law and justice, or to inspire others with a desire to imitate criminals."

"(2) If crime is depicted it shall be as a sordid and unpleasant activity."

"(3) Policemen, judges, government officials, and respected institutions shall never be presented in such a way as to create disrespect for established authority."

"(5) Criminals shall not be presented so as to be rendered glamorous or to occupy a position which creates a desire for emulation."

"(6) In every instance good shall triumph over evil and the criminal punished for his misdeeds."

"(7) Scenes of excessive violence shall be prohibited. Scenes of brutal torture, excessive and unnecessary knife and gunplay, physical agony, the gory and gruesome crime shall be eliminated."

"(1) No comic magazine shall use the words "horror" or "terror" in its title."

"(2) All scenes of horror, excessive bloodshed, gory or gruesome crimes, depravity, lust, sadism, masochism shall not be permitted."

"(3) All lurid, unsavory, gruesome illustrations shall be eliminated."

"(4) Inclusion of stories dealing with evil shall be used or shall be published only where the intent is to illustrate a moral issue and in no case shall evil be presented alluringly, nor so as to injure the sensibilities of the reader."

"(5) Scenes dealing with, or instruments associated with walking dead, torture, vampires and vampirism, ghouls, cannibalism, and werewolfism are prohibited."

"(1) Profanity, obscenity, smut, vulgarity, or words or symbols which have acquired undesirable meanings are forbidden."

"(1) Nudity in any form is prohibited, as is indecent or undue exposure."

"(2) Suggestive and salacious illustration or suggestive posture is unacceptable."

"(4) Females shall be drawn realistically without exaggeration of any physical qualities."

"(2) Illicit sex relations are neither to be hinted at nor portrayed. Rape scenes, as well as sexual abnormalities, are unacceptable."

"(6) Seduction and rape shall never be shown or suggested."

"(7) Sex perversion or any inference to same is strictly forbidden."

"(7) Nudity with meretricious purpose and salacious postures shall not be permitted in the advertising of any product; clothed figures shall never be presented in such a way as to be offensive or contrary to good taste or morals."

"So he said it can't be a Black [person]. So I said, 'For God's sakes, Judge Murphy, that's the whole point of the Goddamn story!' So he said, 'No, it can't be a Black'. Bill [Gaines] just called him up [later] and raised the roof, and finally they said, 'Well, you gotta take the perspiration off'. I had the stars glistening in the perspiration on his Black skin. Bill said, 'Fuck you', and he hung up."

"[T]he list of requirements a film needs to receive a G rating was doubled, and there were no other acceptable ratings!"

"This really made 'em go bananas in the Code czar's office. 'Judge Murphy was off his nut. He was really out to get us', recalls [EC editor] Feldstein. 'I went in there with this story and Murphy says, "It can't be a Black man". But ... but that's the whole point of the story!' Feldstein sputtered. When Murphy continued to insist that the Black man had to go, Feldstein put it on the line. 'Listen', he told Murphy, 'you've been riding us and making it impossible to put out anything at all because you guys just want us out of business'. [Feldstein] reported the results of his audience with the czar to Gaines, who was furious [and] immediately picked up the phone and called Murphy. 'This is ridiculous!' he bellowed. 'I'm going to call a press conference on this. You have no grounds, no basis, to do this. I'll sue you'. Murphy made what he surely thought was a gracious concession. 'All right. Just take off the beads of sweat'. At that, Gaines and Feldstein both went ballistic. 'Fuck you!' they shouted into the telephone in unison. Murphy hung up on them, but the story ran in its original form."

"RINGGENBERG: Well, given that the Comics Code expressly forbid the use of the words Weird, Horror and Terror, did you feel that your company was being particularly targeted?"

"RINGGENBERG: Let's jump ahead a little bit, to the New Direction comics. In Impact #4 you had a story called "The Lonely One", which was about prejudice against Jews. The Jewish in the story had a very bland name. It was "Miller"."

"My first assignment, as a new art assistant, was to remove cleavages and lift up low cut blouses on Katy Keene."

"His sometimes suggestive storytelling – and he was one of the best – almost cost him his job. When his pencilled stories came in, the characters were dressed on one page only. The inker, a woman by the name of terry Szenics, would have to clothe them on the remaining pages."

"I could understand them; they were like lawyers, people who take things literally and technically. The Code mentioned that you mustn't mention drugs and, according to their rules, they were right. So I didn't even get mad at them then. I said, 'Screw it' and just took the Code seal off for those three issues. Then we went back to the Code again. I never thought about the Code when I was writing a story, because basically I never wanted to do anything that was to my mind too violent or too sexy. I was aware that young people were reading these books, and had there not been a Code, I don't think that I would have done the stories any differently."

"The Hindu understanding of the universe has often been misunderstood as bizarre and primitive. The Hindu imagery is in fact a sophisticated iconography conveying universal religious truths only now beginning to be understood in the West."

"The images of the Indian deities are usually highly magnetized, and when they are carried round the streets at the festivals their influence upon the people is unquestionably productive of much good. In many of the Hindu temples there are strong permanent influences at work, as is the case for example at Madura. Once when I visited that city some white ashes from the temple of Shiva were given to me, and also a bright crimson powder from the temple of Parvati, and I found that both of these were so powerfully magnetized as to retain their influence for some years and after much travelling. India is essentially a country of rites and ceremonies. The religion is full of them, and a great many of them are said to have been prescribed by the Manu Himself, though it is quite obvious that many others have been added at a much later date. p. 130"

"Romance depends not just on desire and affection but also on isolation from the claims of everyday life. It is on this point that these romantic comedies come closest to fitting the usual definition of the prose romance—as distinguished from the novel—one of the features of which is a setting far removed from everyday life: the forest, the ocean, a desert island, and the like. And yet in the Hollywood comedies I am discussing, most of the action takes place well within everyday settings."

"Shakespeare, from his very first experiment in the genre, conceived of the love comedy—the romantic comedy—as of something typically Italian, and for this reason he favoured the choice of Italian names for the main characters and, at least in the earliest examples, of Italian locations for the action."

"Even though I enjoy Hollywood romantic comedies like Notting Hill, it’s like they wear galoshes compared to the sly wit of a movie like Autumn Tale. They stomp squishy-footed through their clockwork plots, while Rohmer elegantly seduces us with people who have all of the alarming unpredictability of life. There’s never a doubt that Julia Roberts will live happily ever after. But Magali, now: One wrong step, and she’s alone with her vines forever."

"Romantic comedy was reborn in the films of the 1930s and ’40s. The distinction between a romantic comedy and the modern sense of romance is apparent in a comparison of &#91;Leo McCarey's Love Affair&#93; (1939), which the director remade as An Affair to Remember (1957). Both of these films are unequivocally modern romances, while Nora Ephron’s Sleepless in Seattle (1993), a film that pays extensive homage to An Affair to Remember, is clearly a romantic comedy."

"I simply regard romantic comedies as a subgenre of sci-fi, in which the world created therein has different rules than my regular human world. …. There is no difference between Ripley from Alien and any Katherine Heigl character."

"Today it’s no secret that movie studios release blockbuster action films to meet the higher energy levels of summer audiences, more intellectual fare for the winter months, and romantic comedies for spring. They don’t do it out of any sense of loyalty to our natural chronobiological rhythms, but because it’s good business."

"I want to dedicate this award to the director of intimacy . Thank you for your existence in our industry, for making the space safe for creating physical, emotional, and professional boundaries so that we can make work about exploitation, loss of respect, about abuse of power, without being exploited or abused in the process. I know what it's like to shoot without an intimacy director — the messy, embarrassing feeling for the crew, the internal devastation for the actor. Your direction was essential to my show, and I believe essential for every production company that wants to make work exploring themes of consent."

"Lots of people have lots of opinions about intimacy coaches and it's a relatively new job and I think people are still working out certain parameters. Some people will say, "Oh, I don't need them." But if that intimacy co-ordinator prevents that one actor from experiencing life-changing trauma then of course it justifies the other 99 people who don't need it. I needed it on this, definitely."

"I think if you're a young woman on a set, which is largely peopled by men, the crew will be 90% men and the women won't be on the set with you, because generally speaking we do not have parity on any level on film sets, it's all men. And that's a very uncomfortable position for a young woman who's starting in the industry, but it is absolutely essential that there is someone there to protect them. Absolutely essential. It's not to say that they're going to be in there all the time arranging your boobs, it's that they can be there in case you might feel that there's a position that you've got into that you're not quite comfortable with, you know, your bum hole's waving in the air, and you just think I don't feel quite comfortable… I've worked with young actresses who've been truly traumatised by their experiences on set. And so, my passion for intimacy co-ordinators and protection for young women particularly, and young men, I mean, it's not necessarily an easy thing for any person."

"Bhagyachandra also went on to establish the Nata Sankirtana (also called Nupa Pala), a very crucial form of worship in Manipur. It is an intricate combination of rhythmic movents, music and rituals and is something that permeates every aspect of Manipuri life and culture, till date. It synthesized several elements of the pre-Vaishnava, indigenous Meitei culture, beliefs and rituals."

"The Sankirtana, ‘establishes and reinforces relationships between the individual and the community through life-cycle ceremonies. It can also be regarded as a vibrant practice promoting an organic relationship with people. Sankirtana works in harmony with the natural world, whose presence is acknowledged through its many rituals … the blending of the native pre-Hindu religious elements and cultural traditions with the great tradition of Hinduism led to the birth of a state deeply rooted in a unique form of Hindu Vaishnavism. This was aptly described as the ‘Meiteisation of Hinduism’. Thus, it seemed like a new civilizational renaissance were heralded in Manipur under Bhagyachandra. Old values were transmuted; old materials reorganized to yield new meanings. A new society thus emerged from the old, but without a break in continuity of tradition, rituals and customs."

"Et in Arcadia ego."

"Even in Arcadia, there am I [i.e. Death]"

"Polonius: The best actors in the world, either for tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragical-comical historical-pastoral, scene individable, or poem unlimited: Seneca cannot be too heavy, nor Plautus too light. For the law of writ and the liberty, these are the only men."

"In time of yore when shepherds dwelt Upon the mountain rocks, And simple people never felt The pain of lovers’ mocks; But little birds would carry tales ’Twixt Susan and her sweeting, And all the dainty nightingales Did sing at lovers’ meeting: Then might you see what looks did pass Where shepherds did assemble, And where the life of true love was When hearts could not dissemble.Then yea and nay was thought an oath That was not to be doubted, And when it came to faith and troth We were not to be flouted. Then did they talk of curds and cream, Of butter, cheese and milk; There was no speech of sunny beam Nor of the golden silk. Then for a gift a row of pins, A purse, a pair of knives, Was all the way that love begins; And so the shepherd wives.But now we have so much ado, And are so sore aggrievèd, That when we go about to woo We cannot be believèd; Such choice of jewels, rings and chains, That may but favour move, And such intolerable pains Ere one can hit on love; That if I still shall bide this life ’Twixt love and deadly hate, I will go learn the country life Or leave the lover’s state."

"O Attic shape! fair attitude! with brede Of marble men and maidens overwrought, With forest branches and the trodden weed; Thou, silent form! dost tease us out of thought As doth eternity: Cold Pastoral!"

"Sweet breathe the henna-flowers that harem girls So love to twine among their glossy curls."

"The unusual personality of is reflected in an extraordinary number of portraits. They begin in his early youth, and do not end with his death. They continue during the and periods, and all subsequent periods down to modern times. The portraits of Alexander not only reflect the different phases of his short life but become an artistic motif for all following periods."

"The fact that some of the noblest and most highly esteemed examples that survive to us of the best days of painting are those of portraiture is sufficient demonstration of the dignity of the art itself. To produce a portrait is to do much more than make a mere study of a head. Qualities of , balance of light and shade, appropriate accessories, and many other elements of a pictorial æsthetic nature combine to give dignity to the and mark it as a work of art."

"Independent portrait sculpture was revived around the middle of the in three main forms—the , the , and the . Equestrian monuments are over life-size, they were made by public decree, and were displayed in public places. Sculptured busts are life-size, were privately commissioned, and were displayed on private property. Medals are small in scale, they might be commissioned officially or privately, and they were intended for a selected audience that did not include the public at large but extended beyond the sitter's personal domain. ... None of these classes of portraiture had actually disappeared during the middle ages, but when they occurred they were included within some physical and conceptual context, such as church and tomb decoration, or ordinary coinage ..."

"... It is part of the gift of time to us that a portrait, if only done ably, at last satisfies the generation which knew not the man portrayed. Even to old folk who once “saw Shelley plain,” and yet grow forgetful of the man's infinite variety, the portrait may serve."

""Commemoration" was a particularly important function of portraiture. 's well-known dictum on the ability of paintings to preserve the likeness of men after their deaths was an expression of faith in the magical victory of art over time, as if painting could overcome death. It is significant in this respect that the portrait itself is descended from the tomb effigy or least was originally associated with this art form. Examples of likenesses of deceased persons — usually members of the high clergy — in the form of reliefs or sculptures on altar tombs date from as early as the high or late Middle Ages: the tombstone of Archbishop Friederich of Wettin (c. 1152) at , for example, or that of (), shown in crowning two reduced-scale kings. Links between the portrait and the cult of the dead may be traced back to antique art. In Roman times and kept in the shrine in the of s."

"[Mughal court painting...] an art that developed so fast, had Persia, India, and Europe to draw on...why didn’t it do more? Why did this art, so human in the beginning, in the late sixteenth century, and so full of possibility, exhaust itself so quickly by the end of the seventeenth? The answer can be inferred from Imperial Mughal Painting. The art was limited by the civilization, by an idea of the world in which men were born only to obey the rules - Islam was always in the wings, waiting to resimplify and stifle. The art was limited by the despotism that went with this idea, the despotism that dealt only in power and glory but could create no nation. The art was limited by the ignorance and absurd conceit of a court dazzled by its own glitter. It shows in the paintings..."

"From around 1600 to 1750, the Baroque period witnessed the creation of some of the greatest musical masterpieces ever composed."

"To judge of the past from the present, let us take the English nation in India. It has held India for a longer period than the Greeks did Bactria from the time of Alexander to that of As'oka, but yet it has produced no appreciable effect on the architecture of its neighbours. The Bhutanese and the Sikimites have not yet borrowed a single English moulding. The Nepalese, under the administration of Sir Jung Bahadur, are not a whit behind-hand of As ́oka and his people; Sir Jung went to Europe, which As'oka never did; still there is no change perceptible in Nepalese architecture indicative of a European amalgamation. The Kashmiris and the Afghans have proved equally conservative, and so have the Burmese. But to turn from their neighbours to the people of Hindustan : these have had intimate intercourse with Europeans now for over three hundred years, and enjoyed the blessings of English rule for over a century, and yet they have not produced a single temple built in the Saxon, or any other European style. Thus the conclusion we are called upon to accept is that what has not been accomplished by the intimate intercourse of three centuries, and the absolute sovereignty of a century, in these days of railways, and electric telegraphs, and mass education, was effected by the Greeks two thousand years ago simply by living as distant neighbours for eighty years or so."

"By the mid-seventeenth century, depictions of s, animals, and plants had officially been declassed to the status of inferior art genres, deemed decorative, even frivolous—lacking the conceptual depth, moral integrity, and ethical elevation of art portraying grandiose human narratives. ... Or at least that was the case until aspiring female artists like , , , , , , , , Frances Elizabeth Tripp, , and , among others, turned to painting plants and flowers, spearheading an unparalleled botanical revolution in Western art. Initiating an unwavering, albeit gradual, ascent in the arts and in society, these women artists made the most of what was available to them to showcase their aptitudes, talent, and conceptual acumen."

"The work of women artists, which often transgresses the racial, ethnic, and gender dictates of society, asks us to consider the ambiguous boundary between self and other not with horror and fear—a convention of exclusion on which much of society is founded—but as offering an opening onto a new form of ."

"We know little of the practice of the arts by women in ancient times. The degraded condition of the sex in Eastern countries rendered woman the mere slave and toy of her master; but this very circumstance gave her artistic ideas capable of development into independent action. These first showed themselves in the love of dress and the selection of ornaments. From the early ages of the world, too, and were feminine employments, in which undying germs of art were hidden; for it belongs to human nature never to be satisfied with what merely minsters to necessity."

"After studying the optical effects of the , in 1960 began to make the extremely precise pictures for which she is known today. Her participation in , a 1965 show at the , earned Riley an international reputation. Although went out of fashion very quickly, Riley's work continued to fascinate viewers because of its impeccable technique and sophisticated compositions."

"Why, yes, of course I wrote all the Arab of Mesopotamia. I've loved the reviews which speak of the practical men who were the anonymous authors, etc. It's fun being practical men, isn't it."

"The earliest flower drawings were for the most part made to assist the searcher after herbs and s. was desired and soon to a surprising degree achieved, for there can be little doubt, as we shall see, that the illustrations provided for herbals nearly two thousand years ago were highly naturalistic. Gradually, however, unintelligent copying led to a debased and stylised type of figure which was nothing more than a decorative embellishment to the text. With the Renaissance came a revival of naturalism, but the function of the botanical illustrator remained at first unchanged."

"... in the first century AD, the first known copies of ' ('On Medical Material') were produced, translated into both Latin and Arabic. These were written by a Roman physician of Greek origin called . In this illustrated book he covered 600 plants with around a further 1,000 medicines made from them. It was widely read for thousands of years and was regarded as a pharmaceutical 'bible' for those in practice, becoming the most influential work on medicinal plants in both Christian and Islamic cultures. Astonishingly, a copy of the illustrated manuscript, dating back to the sixth century, is still in existence, held in Istanbul, Turkey."

"Choosing the subject for a drawing or painting is an important part of the creative process. Selecting a good example of the plant you are going to paint is the first step towards a good illustration."

"The artist may not ask any questions about the species at all, but rather look at a flower as an individual of nature with its own unique features of colour, texture, form, size, and proportion. Their first question may be 'how do I capture the essence of the flower in my canvas?' Or perhaps 'how do I create a work of true beauty that may equal or surpass nature itself?'"

"The artist must decide whether the correct botanical information has been conveyed in the the drawing in the best way possible. When and flowers are huddled together they can be repositioned to give a more open design; and leaves lining up with stems can be moved slightly so that the drawing can be clearly understood. It is difficult to know whether to include insect damage and nibbled bits, as well as leaves that have been on the plant all year and look discoloured and weary. When you are illustrating a plant that retains its bare leaves all through the year, such as a , it would be unwise to tidy up the plant and remove the older leaves as this would destroy part of the plant's life history. Leaves with autumnal fruits will not appear as fresh as they would in the spring."

"The stepped pyramid design, also known as stepped cross or crenellation patterns, was a basic element in the decorative artwork of the southern areas. It was commonly used on pottery, woven textiles, jewelry, metalwork at the end of the 4th/early 3rd millennium at Namazga, Sarazm, and Helmand sites (Mundigak, Shahr-i Sokhta, and Rud-i Biyaban), and even recognized in a wall painting from the early 3rd millennium palace at Tal-i Malyan in Fars. The same design has been identified on 5% of the ceramic decoration of the Sintashta and Potapovka ceramic tradition. This is possibly among the earliest evidence of southern influence and movement of goods to the north. It subsequently became a standard design element also on Petrovka and Andronovo pottery. It has been suggested that the design was conveyed to the northern steppes on textiles, possibly one of the commodities exchanged for metal."

"The diffusion of double-spiral-headed pins across northern and southern Eurasia demonstrates that objects, and the idea behind them, propagate between and through cultures due to various mechanisms and for various reasons, and that they are often transformed. Perhaps this explains why the spirals and their variations are so geographically and culturally scattered. Yet, once in the Eurasian steppe, the pins undoubtedly took on a local and not a Central Asian shape, and possibly also another meaning. The foreign idea was translated into a local medium, functioning in a local setting with its specific and local significance. Characteristic material culture forms and materials are transportable, but their meanings can be re-shaped and re-applied to fit diverse sociopolitical settings and a different array of participants. Thus, while the double-spiral-headed pins may have indeed originally been first produced in southwestern Central Asia (after Europe and the Near East), once they found their way to the Eurasian steppe they took on an indigenous shape and meaning, with each case different from the others."

"Whether or not the artistic quality of the bullfight outweighs the moral question of the animals’ suffering is something that each person must decide for themselves – as they must decide whether the taste of a steak justifies the death of a cow. But if we ignore the possibility that one does outweigh the other, we fall foul of the charge of self-deceit and incoherence in our dealings with animals."

"There is an image I will never lose, much as I wish I could. It is of a man standing with half his face held in his right hand. Cheek, jaw and eyeball, like so much meat, resting in his palm as he walked towards his team uncomprehending, and they, with looks of absolute horror, grabbed his arms and rushed him to the infirmary of the ring. And yet here, in the amongst the carnage inflicted on a human body by a half ton of enraged animal, is the key to Juan José Padilla. The clue is in the phrase “stood up.” Soccer players are stretchered off the field from a tap to the ankle. Boxers go down from a padded glove. This was more than half a ton of muscle, focused into a pointed tip that ploughed through his skull like a sword through snow. And the man got up and walked."

"The crowd are on their feet, stamping and cheering, but El Cid just stands and stares at the bull in grave silence, his face inscrutable. This was truly what Kenneth Tynan called in his 1955 book Bull Fever "the slow, sad fury of a perfect bullfight.""

"What you are interested in is the art whereby a man using no tricks reduces a raging bull to his dimensions, and this means that the relationship between the two must always be maintained and even highlighted. The only way this can be achieved is with art. And what is the essence of this art? That the man carry himself with grace and that he move the bull slowly and with a certain majesty. That is, he must allow the inherent quality of the bull to manifest itself."

"At the first bullfight I ever went to I expected to be horrified and perhaps sickened by what I had been told would happen to the horses. Everything I had read about the bull ring insisted on that point; most people who wrote of it condemned bullfighting outright as a stupid brutal business, but even those that spoke well of it as an exhibition of skill and as a spectacle deplored the use of the horses and were apologetic about the whole thing. The killing of the horses in the ring was considered indefensible. I suppose, from a modern moral point of view, that is, a Christian point of view, the whole bullfight is indefensible; there is certainty much cruelty, there is always danger, either sought or unlooked for, and there is always death, and I should not try to defend it now, only to tell honestly the things I have found true about it. To do this I must be altogether frank, or try to be, and if those who read this decide with disgust that it is written by some one who lacks their, the readers’, fineness of feeling I can only plead that this may be true. But whoever reads this can only truly make such a judgment when he, or she, has seen the things that are spoken of and knows truly what their reactions to them would be."

"Bullfighting is the only art in which the artist is in danger of death and in which the degree of brilliance in the performance is left to the fighter's honor."

"The Roman public's thirst for blood and pleasure in witnessing pain seems to have been unquenchable and without limit. The caged animals were kept in dungeons below the main arena. The terrified animals in their cages were hoisted up from this pit. And not only animals, human beings too, criminals, slaves and prisoners of war. And here in this arena they were set one upon the other to provide the crowd with spectacles of the most appalling carnage. It still continues to this day in Spain."

"He was an admirer of the bullfight, and had once drawn my attention to the fact that only cricket and bullfighting had inspired any appreciable literature."

"I ask El Espinal mayors not to allow more events involving the death of people or animals [after the bullfighting stadium collapse]."

"Bullfight critics row on row Crowd the vast arena full But only one man’s there who knows And he's the man who fights the bull."