people-from-basilicata

"I make films that people call ‘horror’ because I want to make films about real things that happen in the world. And most real things aren’t very nice."

"When you change the culture of a company, it's never a revolution. It's an evolution."

"Strategy isn't something you define once and follow forever. It’s like a white line on the road: you keep adjusting."

"Imagine an onion. The center is the people. The layer outside is the product. The external layer is the process. The process makes sense when you have a product, and it's only through the motivation of the people that you make a product. This is the way I see the company. And if you see the company this way, you have to start with the people."

"We had prepared a plan in recent days (to deal with COVID-19), because it was clear what has happened could somehow happen."

"The poverty-stricken rural population rose up against their despoilers; they burnt down the castles of the nobles, and swore that they would leave nothing to be seen upon the land but the cabins of the poor. The rich middle-class seemed at first to side with them, and at Strasburg, Nuremberg, and Ulm the peasants were encouraged, aided, and provided for. However, the bourgeoisie soon grew alarmed at the spreading of the insurrection, and made common cause with the nobles in smothering the revolt in the rural districts. Luther, who was then at the apex of his power, condemned the rising in the name of religion, and proclaimed the servitude of the people as holy and legitimate. "You seek," wrote he, "to free your persons and your goods. You desire the power and the goods of this earth. You will suffer no wrong. The Gospel, on the contrary, has no care for such things, and makes exterior life consist in suffering, supporting injustice, the cross, patience, and contempt of life, as of all the things of this world. To suffer! To suffer! The cross! The cross! Behold what Christ teaches!" Were not these teachings, given in the name of the faith to a famishing people in revolt against the tyranny and avidity of the ruling aristocracy, fatal to the future of the peasant masses, whose very sufferings were thus legitimised in the name of the religion that should have come to their aid?"

"Luther did not consider the claims of the peasants as in the least unjust; indeed, he admitted that they were "not contrary to natural law or to equity". But, unconscious apostle of bourgeois interests, he immediately added: "No one is judge in his own cause, and the faults committed by authority cannot excuse rebellion.""

"The doctrines held by the early Fathers of the Church on the nature of property are perfectly uniform. They almost all admit that wealth is the fruit of usurpation, and, considering the rich man as holding the patrimony of the poor, maintain that riches should only serve to relieve the indigent; to refuse to assist the poor is, consequently, worse than to rob the rich. According to the fathers, all was in common in the beginning: the distinctions mine and thine, in other words, individual property, came with the spirit of evil."

"Even Italy sends forth her testimony that phrenology has reached her shores. On my return from America in June last, I found awaiting me a little work entitled' Memoirs regarding the Doctrine of Phrenology and other Sciences connected with it,' by Dr Luigi Ferrarese, Professor of Medicine in Naples, read before the Royal Academy of Sciences in that city. It was published with full permission from the royal censor of the press. The censor in his report on the work certifies that it ' is very instructive and useful, and contains nothing offensive to religion or to the rights of kings."

"Dottrina, che pel suo idealismo poco circospetto , non solo la fede, ma la stessa ragione offende (il sistema di KANT) : farebbe mestieri far aperto gli errori pericolosi, cosi alla Religione, come alla Morale, di quel psicologo franzese , il quale ha sedotte le menti (COUSIN), con far osservare come la di lui filosofia intraprendente ed audace sforza le barriere della sacra Teologia, ponendo innanzi ad ogn' altra autorità la propria : profana i misteri , dichiarandoli in parte vacui di senso, ed in parte riducendoli a volgari allusioni, ed a prette metafore ; costringe , come faceva osservare un dotto Critico, la rivelazione a cambiare il suo posto con quello del pensiero istintivo e dell' affermazione senza riflessione e colloca la ragione fuori della persona dell'uomo dichiarandolo un frammento di Dio, una spezie di pandeismo spirituale introducendo, assurdo per noi, ed al Supremo Ente ingiurioso, il quale reca onda grave alla libertà del medesimo, ec, ec."

"[Luigi Ferrarese] is an enlightened and philanthropic physician of Naples, who has for several years been zealously pursuing the study of Phrenology, and endeavouring to promote its application to those branches of science, morals and legislation, which he perceives it so well calculated to benefit. He has met with much persecution, but he has persevered, and it is with pleasure we perceive that there is one mind at least, in Naples, imbued with the importance of his views"

"I found him in circumstances which indicated much depression, both physical and mental. He spoke with interest of Phrenology, and said that he had projected a Phrenological Journal, but knew that he would be stopped by the Government. He wished to shew the importance of the science in insanity, criminal legislation, education, and social arrangements; but in Naples there was no outlet for knowledge. Altogether, I have never had an interview with any phrenologist, foreign or British, who excited so strong a feeling of sympathy and regret, mingled with respect for his intellectual acquirements, as did Dr Ferrarese."

"On 10th February 1839, he commenced a periodical, named "Il Gatto Letterato, Foglio periodico," dated in Capolago (a town in Italian Switzerland), but printed at Naples (without licence); and for a "Lettera di un Frenologo ad un Dottore degli Stati Pontifici" (" Letter from a Phrenologist to a Doctor in the Papal States"), he was called before the Santa Sede (Holy Tribunal); and afterwards, in 1840, for several other articles, he was seized and imprisoned for 28 days. He was suspended from his office of physician in ordinary to the Royal Lunatic Asylum at Aversa, and crushed to the earth by every engine of persecution which bigotry and tyranny, combined, could employ against Him."

"Tyrants in the course of time must eventually be overthrown because of the continual opposition of the oppressed. It is an unchanging Law, a constant rule, the penalty is certain, albeit that it is very slow coming to fruition."

"To Joseph Stella and other progressive artists of the early twentieth century, the timeworn conventions of European painting seemed powerless to convey the dynamism of modern life. An Italian immigrant, Stella arrived in New York City at a time of unprecedented urban growth and social change in America. He first encountered the new approaches of modernist painting on a trip to Paris and took particular interest in Futurism, an Italian movement that claimed to be “violently revolutionary” in its opposition to the traditions that had prevailed in art ever since the Renaissance. Upon returning to the United States, Stella himself converted to Futurism, convinced that only its new vision of reality could capture the complexities of the machine age"

"Many nights I stood on the bridge — and in the middle alone — lost — a defenseless prey to the surrounding swarming darkness — crushed by the mountainous black impenetrability of the skyscrapers — here and there lights resembling suspended falls of astral bodies or fantastic splendors of remote rites — shaken by the underground tumult of the trains in perpetual motion, like blood in the arteries—at times, ringing as alarm in a tempest, the shrill sulphurous voice of the trolley wires — now and then strange moanings of appeal from tugboats, guessed more than seen, through the infernal recesses below — I felt deeply moved, as if on the threshold of a new religion or in the presence of a new DIVINITY."

"Opposite my studio a huge factory — its black walls scarred with red stigmas of mysterious battles — was towering with the gloom of a prison. At night fires gave to innumerable windows menacing blazing looks of demons — while at other times vivid blue-green lights rang sharply in harmony with the radiant yellow-green alertness of cats enjewelling the obscurity around."

"During the last years of the war I went to live in BROOKLYN in the most forlorn region of the oceanic tragic city, in Williamsburg, near the bridge. Brooklyn gave me a sense of liberation. The vast view of her sky, in opposition to the narrow one of NEW YORK, was a relief — and at night, in her solitude, I used to find, intact, the green freedom of my own self."

"To realize this towering imperative vision in all its integral possibilities... I lived days of anxiety, torture, and delight alike, trembling all over with emotion as those railing[s] in the midst of the bridge vibrating at the continuous passage of the trains. I appealed for help to the soaring verse of Walt Whitman and to the fiery Poe’s plasticity. Upon the swarming darkness of the night, I rung all the bells of alarm with the blaze of electricity scattered in lightnings down the oblique cables, the dynamic pillars of my composition, and to render more pungent the mystery of the metallic apparition, through the green and red glare of the signals I excavated here and there caves as subterranean passages to infernal recesses."

"At my arrival [in Paris], Fauvism. Cubism, and Futurism were in full swing. There was in the air the glamour of a battle, the holy battle raging for the assertion of a new truth. My youth plunged full in it."

"There was in the air the glamor of a battle, the holy battle raging for the assertion of a new truth. My youth plunged full in it."

"I was thrilled to find America so rich with so many new motives to be translated into a new art. Steel and electricity had created a new world. A new drama had surged from the unmerciful violation of darkness at night, by the violent blaze of electricity and a new polyphony was ringing all around with the scintillating, highly colored lights. The steel had leaped to hyperbolic altitudes and expanded to vast latitudes with the skyscrapers and with bridges made for the conjunction of worlds. A new architecture was created, a new perspective."