People From Toronto

"And death? I don’t fear death. I dread the absence of it."

"“Consciousness,” according to current scientific thought, was something the higher mammals had evolved in order to help them reproduce, much the way a garden slug secretes slime. It had no special ontological status. The “self” was a genetically modulated and biologically useful illusion."

"The Mysteries are the Mysteries, and ultimately personal—maybe the most personal thing in the universe. Evangelism, in my opinion, is a failure of the imagination. Beware of prophets: the best visions are the ones they leave in the desert."

"Kait was immediately bored. Children Kaitlin’s age possess no context; one video event is much like another."

"Personally, I don’t believe in anything more supernatural than what you read about in the Bible, and I only believe that one day out of seven."

"Try to imagine that Minkowski cube, Ray said, as a block of liquid water freezing (as contrary as this seems) from the bottom up. The progression of the freeze represents at least our human experience of the march of time. What is frozen is past, immutable, changeless. What is liquid is future, indeterminate, uncertain. We live on the crystallizing boundary."

"Children wear their natures like brightly-colored clothes; that’s why they lie so transparently. Adulthood is the art of deceit."

"The most fundamental parental urge is the urge to nurture and protect. To grieve for a child is to admit ultimate impotence. You can’t protect what goes into the ground. You can’t tuck a blanket around a grave."

"I suppose every decade gets the music it deserves."

"I suppose he could have said this more gently, but what would be the point?"

"Sometimes the conscience makes demands that are non-negotiable. Courage has nothing to do with it. We weren’t here because we were brave. We were here because we had to be here."

"There’s no point living if you can’t, at least occasionally, live."

"When does loyalty become martyrdom?"

"It was possible at last to hear the silence—to appreciate that there was a silence, deep and potent, out there beyond the pretension of the light."

"I want them not to forget. Which is, I suppose, what all aged veterans want. But they’ll forget. Of course they will. And their children will know less of us than they do, and their children’s children will find us barely imaginable. Which is as it should be. You can’t stop time."

"Times like this, with the wind moving the grass and curling around her like a huge cool hand, Tess felt the world as a second presence, as another person, as if the wind and the grass had voices of their own and she could hear them talking."

"If you understood the facts they needed no embroidery: all the wonder was already there, the more spellbinding because it was true."

"Promises were like bad checks, easy to write and hard to cash."

"“Wow,” Sue said. “You actually stole this?” “We don’t use that word,” Elaine told her. “Chris has an unnamed high-level source.”"

"His heart was in the right place. He wanted a religion that could plausibly comfort widows and orphans without committing them to patriarchy, intolerance, fundamentalism, or weird dietary laws. He wanted a religion that wasn’t in a perpetual fistfight with modern cosmology."

"We live in an enlightened age, however, an age that has learned to see and to value other living things as they are, not as we wish them to be. And the long and creditable history of science has taught us, if nothing else, to look carefully before we judge—to judge, if we must, based on what we see, not what we would prefer to believe."

"Until now Gregory Colbert has been that rare artist who goes out of his way not to be noticed. He was represented by no gallery, he held no exhibitions for a decade, and he gave no interviews. He was in a sense a secret artist, though the secret was shared by a small group of wealthy private collectors who, through acquisitions and sheer enthusiasm, helped to finance his work. He needed this help. In his quest to photograph the mystical relationship between humans and animals, he made 27 lengthy trips to distant corners of the world over nine years. He was usually accompanied by a support team, supplies and equipment. He even rented oceangoing vessels for months on end. In brief, it was both costly and complicated to produce images of great simplicity."

"The whales do not sing because they have an answer. They sing because they have a song."

"I spent all my time at school in the library. Bad teachers can teach you to learn on your own."

"I have invented nothing. I have simply documented a magical alchemy that I want to share."

"The stars you see at night are the unblinking eyes of sleeping elephants, who sleep with one eye open to best keep watch over us."

"If you look at Paleolithic cave paintings, you see how people were depicted inside nature, not outside it. It was a kind of dream time. That’s what I’m exploring."

"In the next 25 years, the human race will have to decide whether or not to preserve the bestiary of Nature’s living masterpieces. Ashes and Snow is not meant to tell people to do some things and not to do other things. It’s meant to inspire. I hope it’s not a requiem."

"In exploring the shared language and poetic sensibilities of all animals, I am working toward rediscovering the common ground that once existed when people lived in harmony with animals. The images depict a world that is without beginning or end, here or there, past or present. I hope that the overall effect is an experience of wonder and contemplation, serenity and hope."

"Nous avons besoin de renégocier notre contrat avec la nature. L'écologie est une force d'union qui peut diminuer l'intolerance et augmenter notre empathie envers les autres—avec les humains comme avec les animaux."

"We need to renegotiate our contract with nature. Ecology is a unifying force that can diminish intolerance and expand our empathy towards others—both human and animal."

"He has realised a vision with an eloquent message, delivered without commentary or caption: if we didn't know before what we are obliterating, we do now."

"Colbert’s work feels timeless and sacred. It resonates with a luminous, essential wisdom speaking through the ages. . . . Colbert’s work operates in a parallel universe to ours, an earnest, refreshing, post-ironic world where pure wonder and awe still reside."

"Glenn brought an extraordinary awareness and imagination – he had a very plastic mind - and he was capable of growing, of changing too. Bach offers a very rich field for differentiation of approaches because he was so unspecific about what he did, in terms of performance. But every time one plays a piece, it’s an opportunity not so much to go where the composer didn’t, but to come closer to what one conceives of as being the experience of the composer or the intention of the composer."

"Among pianists, Glenn Gould was the ultimate line guy. He didn’t view the piano as a homophonic instrument, but as a veritable counterpoint machine, from which he coaxed Bach fugues and de-orchestrated Strauss tone poems with remarkable clarity: x-ray vision, some might say. When it came to less polyphonically inclined compositions, like early Mozart sonatas, Gould simply spruced up the left hand accompaniments to give the music a more “Baroque” contrapuntal flavor. And if the results sounded more like Brecht than Gould’s beloved Bach, well, that’s another article!"

"Don't be frightened, Mr. Gould is here. (audience laughter) He will appear in a moment. I am not — as you know — in the habit of speaking on any concert except the Thursday night previews, but a curious situation has arisen, which merits, I think, a word or two. You are about to hear a rather, shall we say, unorthodox performance of the Brahms D Minor Concerto, a performance distinctly different from any I've ever heard, or even dreamt of for that matter, in its remarkably broad tempi and its frequent departures from Brahms' dynamic indications. I cannot say I am in total agreement with Mr. Gould's conception. And this raises the interesting question: "What am I doing conducting it?" (mild laughter from the audience) I'm conducting it because Mr. Gould is so valid and serious an artist, that I must take seriously anything he conceives in good faith, and his conception is interesting enough so that I feel you should hear it, too. But the age-old question still remains: "In a concerto, who is the boss (audience laughter) — the soloist or the conductor?" (Audience laughter grows louder) The answer is, of course, sometimes one and sometimes the other depending on the people involved. But almost always, the two manage to get together, by persuasion or charm or even threats (audience laughs) to achieve a unified performance. I have only once before in my life had to submit to a soloist's wholly new and incompatible concept, and that was the last time I accompanied Mr. Gould. (audience laughs loudly) But this time, the discrepancies between our views are so great that I feel I must make this small disclaimer. Then why, to repeat the question, am I conducting it? Why do I not make a minor scandal — get a substitute soloist, or let an assistant conduct? Because I am fascinated, glad to have the chance for a new look at this much-played work; because, what's more, there are moments in Mr. Gould's performance that emerge with astonishing freshness and conviction. Thirdly, because we can all learn something from this extraordinary artist who is a thinking performer; and finally because there is in music what Dimitri Mitropoulos used to call "the sportive element" (mild audience laughter) — that factor of curiosity, adventure, experiment, and I can assure you that it has been an adventure this week (audience laughter) collaborating with Mr. Gould on this Brahms concerto; and it's in this spirit of adventure that we now present it to you."

"It is as a Bach player that he will live and his recordings constitute his permanent legacy. Sometimes, as in the Partitas, he forced professionals, music lovers and critics to reconsider the music, throwing overboard all preconceived notions. It was not only that he had wonderful fingers and an ability to clarify the linear elements of the music. Other pianists — admittedly, not many — could do that too. But none had his particular kind of firmly centered sonority; a sonority that Piero Rattalino, the Italian specialist on pianists, compares to the sound evoked by the great colorists — Horowitz, Richter and Michelangeli. Above all, Gould's Bach interpretations made the music sound different — different in tempo, in phrase, in dynamics, in conception. Elements nobody previously had paid much attention to suddenly sprang into high relief. But there was nothing eccentric or mannered about the performances. The music was passing through a mind that took nothing for granted. It was an original mind that worked on a different set of premises and principles from other pianists. One could not describe it as traditional Bach playing, or romantic Bach playing, or neoclassic Bach playing, or modern Bach playing, or musicological Bach playing. Whatever it was, it breathed a life and spirit unique in the history of Bach performance."

"Glenn Gould, 'the greatest interpreter of Bach'. Glenn Gould has found his own approach to Bach and, from this point of view, he deserves his reputation. It seems to me that his principal merit lies on the level of sonority, a sonority that is exactly what suits Bach best. But, in my own view, Bach's music demands more depth and austerity, whereas with Gould everything is just a little too brilliant and superficial. Above all, however, he doesn't play all the repeat, and that's something for which I really can't forgive him. It suggests that he doesn't actually love Bach sufficiently."

"And I think that this is something that we must all do in this day and age: I think if one is going to pursue performance at a time when the greatest performances of the past and of the present have been made permanent in the record catalogues where anyone can hear [them], one must indeed recompose it or find another way to make a living. I don't think there is an excuse for a performance that simply duplicates what's been done before."

"I tend to follow a very nocturnal sort of existence mainly because I don't much care for sunlight. Bright colors of any kind depress me, in fact. And my moods are more or less inversely related to the clarity of the sky, on any given day. A matter of fact, my private motto has always been that behind every silver lining there is a cloud."

"I think that if I were required to spend the rest of my life on a desert island, and to listen to or play the music of any one composer during all that time, that composer would almost certainly be Bach. I really can't think of any other music which is so all-encompassing, which moves me so deeply and so consistently, and which, to use a rather imprecise word, is valuable beyond all of its skill and brilliance for something more meaningful than that -- its humanity."

"I wasn't motivated to do it [re-record Bach's Goldberg Variations] until rather recently, when it occurred to me, on one of my rare relistenings to that early recording, that it was very nice, but that it was perhaps a little bit like thirty very interesting but somewhat independent-minded pieces, going their own way, and all making a comment on the ground bass on which they are all formed and to which they all conform. And I suddenly felt, not having played it in, well, since I stopped playing concerts, about 20 years, having not played it in all that time, that maybe I wasn't savaged by any over-exposure to it, and that if I looked at it again, I could find a way of making some sort of almost arithmetical correspondence between the theme and the subsequent variations, so that there would be some sort of temporal relationship, I don't want to say just exactly 2, 4, 8, 16, 32, that kind of correspondence, but, you know what I mean, there would be a sense in which, substituting for the fact that Bach had absolutely no melodic design that is continuous but rather a base harmonic design that is continuous, there would be at least a rhythmic design that is continuous, and the sense of pulse that went through it. And that seemed to me sufficient justification [...] to do it all over again."

"I believe that the justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. The purpose of art is not the release of a momentary ejection of adrenalin but is, rather, the gradual, lifelong construction of a state of wonder and serenity."

"The trouble begins when we start to be so impressed by the strategies of our systematized thought that we forget that it does relate to an obverse, that it is hewn from negation, that it is but very small security against the void of negation which surrounds it. And when that happens, when we forget these things, all sorts of mechanical failures begin to disrupt the functions of the human personality. When people who practice an art like music become captives of those positive assumptions of system, when they forget to credit that happening against negation which system is, and when they become disrespectful of the immensity of negation compared to system — then they put themselves out of reach of that replenishment of invention upon which creative ideas depend, because invention is, in fact, a cautious dipping into the negation that lies outside system from a position firmly ensconced in system."

"The prerequisite of contrapuntal art, more conspicuous in the work of Bach than in that of any other composer, is an ability to conceive a priori of melodic identities which when transposed, inverted, made retrograde, or transformed rhythmically will yet exhibit, in conjunction with the original subject matter, some entirely new but completely harmonious profile."

"Never be clever for the sake of being clever For the sake of showing off."

"The mental imagery involved with pianistic tactilia is not related to the striking of individual keys but rather to the rites of passage between notes."

"During the election, Prime Minister Harper ended some of his speeches with the words “God bless Canada.” Indeed, the prophet Isaiah says that God blesses you when you “share your bread with the hungry and bring the homeless poor into your house” (Isaiah 58.7). We urge the Prime Minister to spend tax dollars now in a way that will bring the homeless poor into their own house, and allow them the dignity of sharing their bread with others."

"People from all sectors of society, including business, government and community must all work together to reduce poverty at its source, by ensuring that all have access to fairly paid work, to decent public services, and to income support in times of need."

"The critical sense and sceptical attitude of the Hippocratic school laid the foundations of modern medicine on broad lines, and we owe to it: first, the emancipation of medicine from the shackles of priestcraft and of caste; secondly, the conception of medicine as an art based on accurate observation, and as a science, an integral part of the science of man and of nature; thirdly, the high moral ideals, expressed in that most "memorable of human documents" (Gomperz), the Hippocratic oath; and fourthly, the conception and realization of medicine as the profession of a cultivated gentleman."