A Quote by Jeanette

What art does is to coax us away from the mechanical and towards the miraculous. — © Jeanette
What art does is to coax us away from the mechanical and towards the miraculous.
In expressing so completely his own type, Mr. Yeats presents us with the case for integrity. If we can express eventually our own scholastic mentality in verse, I believe that our art will lead us not towards, but away from, English art.
You don't own art. What does that mean? We are trustees of art. Art is in transit with us. That is why an auction is a wonderful thing. You clap your hands and the objects fly away like doves and find other places where they will be protected, loved. That's what I believe.
Divide in yourself the mechanical from the conscious, see how little there is of the conscious, how seldom it works, and how strong is the mechanical - mechanical attitudes, mechanical intentions, mechanical thoughts, mechanical desires.
Most people don't live aware lives. They live mechanical lives, mechanical thoughts - generally somebody else's - mechanical emotions, mechanical actions, mechanical reactions.
if we continue with what is surely our greatest Western temptation, and think that in some way history owes us a solution, that we can, by pursuing our own most parochial self-interest, achieve in some miraculous way a consummation of world order, then we are heading not simply towards great disappointments, but towards disaster and tragedy as well.
Many things are mechanical and should remain mechanical. But mechanical thoughts, mechanical feelings—that is what has to be studied and can and should be changed. Mechanical thinking is not worth a penny. You can think about many things mechanically, but you will get nothing from it.
In addition to giving comfort and joy, art also has the miraculous ability to let us live in other men's skins, to test our perceptions and beliefs against theirs, and perhaps to be changed as a result. It does this by portraying the world creatively, heightening our perception and enriching our understanding of things as they are.
Innumerable are the illusions and legerdemain-tricks of custom: but of all of these, perhaps the cleverest is her knack of persuading us that the miraculous, by simple repetition, ceases to be miraculous.
Science can give us only the tools in the box, these mechanical miracles that it has already given us. But of what use to us are miraculous tools until we have mastered the humane, cultural use of them? We do not want to live in a world where the machine has mastered the man; we want to live in a world where man has mastered the machine.
The subject of contemporary art should include a political dimension, the distrust contemporary art has towards the existing order. One manifestation of this distrust is the mechanical dichotomization between art's form and its political content; the other is the institutionalizing tendency of anti-institutionalization. We almost never resist ourselves - the part of ourselves that has been institutionalized. We have occupied the word "resistance" and have become its owner, while "resistance" has become our servant. Thus, we own "resistance" and occupy it as a position of power.
Mechanical Animals for me documents the repair of my emotions, the repair of my soul, and this record does deal with God in a different way. It deals with me finding God in art, and in music. I think there's more spirituality in art than you could find in a church
Every great work of art has two faces, one towards its own time and one towards future, towards eternity.
God uses change to change us. He doesn’t use it to destroy us or to distract us, but to coax us to the next level of character, experience, compassion and destiny!
The place they go towards is a place even less imaginable to us than the city of happiness. I cannot describe it at all. It is possible it does not exist. But they seem to know where they are going, the ones who walk away from Omelas.
There is a clear political desire to rebalance the British economy away from London towards the regions, and away from the services sector towards manufacturing.
works of art feel towards human beings exactly as we do towards ghosts. The transparency of spectres, the diffuseness in space which lets them drift through doors and walls, and their smell of death, disgust us not more than we disgust works of art by our meaninglessness, our diffuseness in time which lets us drift through three score years and ten without a quarter as much significance as a picture establishes instantaneously.
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