A Quote by Andrei Tarkovsky
It is a mistake to talk about the artist looking for his subject. In fact, the subject grows within him like a fruit and begins to demand expression. It is like childbirth. The poet has nothing to be proud of. He is not master of the situation, but a servant. Creative work is his only possible form of existence, and his every work is like a deed he has no power to annul. For him to be aware that the sequence of such deeds is due and ripe, that it lies in the very nature of things, he has to have faith in the idea; for only faith interlocks the system of images for which read system of life.
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About
Artist
Aware
Be Proud
Begins
Childbirth
Creative
Creative Work
Deed
Deeds
Demand
Due
Every
Existence
Expression
Fact
Faith
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Fruit
Grows
Have Faith
Him
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Idea
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Lies
Life
Like
Looking
Master
Mistake
Nature
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Proud
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Sequence
Servant
Situation
Subject
System
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Things
Very
Which
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The poet needs a ground in popular tradition on which he may work, and which, again, may restrain his art within the due temperance. It holds him to the people, supplies a foundation for his edifice; and, in furnishing so much work done to his hand, leaves him at leisure, and in full strength for the audacities of his imagination.
The Lord gave the wonderful promise of the free use of His name with the Father in conjunction with doing His works. The disciple who lives only for Jesus' work and kingdom, for His will and honor, will be given the power to appropriate the promise. Anyone grasping the promise only when he wants something very special for himself will be disappointed, because he is making Jesus the servant of his own comfort. But whoever wants to pray the effective prayer of faith because he needs it for the work of the Master will learn it, because he has made himself the servant of his Lord's interests.
Some would define a servant like this: 'A servant is one who finds out what his master wants him to do, and then he does it.' The human concept of a servant is that a servant goes to the master and says, 'Master, what do you want me to do?' The master tells him, and the servant goes off BY HIMSELF and does it. That is not the biblical concept of a servant of God. Being a servant of God is different from being a servant of a human master. A servant of a human master works FOR his master. God, however, works THROUGH His servants.
It is only in his work that an artist can find reality and satisfaction, for the actual world is less intense than the world of his invention and consequently his life, without recourse to violent disorder, does not seem very substantial. The right condition for him is that in which his work in not only convenient but unavoidable.
The artist has a duty to be calm. He has no right to show his emotion, his involvement, to go pouring it all out at the audience. Any excitement over a subject must be sublimated into an Olympian calm of form. That is the only way in which an artist can tell of the things that excite him.
Photography is unlike any other art form. In the other arts there is always a continuous interplay between the artist and his art. He has the painting or sculpture before him. What we have tried to do is to provide a medium for "artistic expression" to anyone with only a reasonable amount of time. By giving him a camera system with which he need only control his selection of focus, composition and lighting, we free him to select the moment and to criticize immediately what he has done. We enable him to see what else he wants to do on the basis of what he has just learned.
Often nothing keeps the pupil on the move but his faith in his teacher, whose mastery is now beginning to dawn on him .... How far the pupil will go is not the concern of the teacher and master. Hardly has he shown him the right way when he must let him go on alone. There is only one thing more he can do to help him endure his loneliness: he turns him away from himself, from the Master, by exhorting him to go further than he himself has done, and to "climb on the shoulders of his teacher."
The true poem is not that which the public read. There is always a poem not printed on paper,... in the poet's life. It is what hehas become through his work. Not how is the idea expressed in stone, or on canvas or paper, is the question, but how far it has obtained form and expression in the life of the artist. His true work will not stand in any prince's gallery.
In every work of art the subject is primordial, whether the artist knows it or not. The measure of the formal qualities is only a sign of the measure of the artist's obsession with his subject; the form is always in proportion to the obsession.
Capitalism was the only system in history where wealth was not acquired by looting, but by production, not by force, but by trade, the only system that stood for man's right to his own mind, to his work, to his life, to his happiness, to himself.
But the creative person is subject to a different, higher law than mere national law. Whoever has to create a work, whoever has tobring about a discovery or deed which will further the cause of all of humanity, no longer has his home in his native land but rather in his work.
A poet or philosopher should have no fault to find with his age if it only permits him to do his work undisturbed in his own corner; nor with his fate if the corner granted him allows of his following his vocation without having to think about other people.
And so take away his work, which was his life [. . .] and all his glory and his great deeds? Make a child and a dotard of him? Keep him to myself at that cost? Make him so mine that he was no longer his?
If we have dwelled on Godel's work at some length, is it because we see it in the mathematical analogy of what we would call the the ultimate paradox of man's existence. Man is ultimately subject and object of his quest. While the question whether the mind can be considered to be anything like a formalized system, as defined in the preceding paragraph, is probably unanswerable, his quest for an understanding of the meaning of his existence is an attempt at formalization.
It is not possible to engage in the direct apostolate without being a soul of prayer. We must be aware of oneness with Christ, as he was aware of oneness with his Father. Our activity is truly apostolic only insofar as we permit him to work in us and through us with his power, with his desire, with his love.
The real master is only a presence. He has no intentions of being a master. His presence is his teaching. His love is his message. Every gesture of his hand is pointing to the moon. And this whole thing is not being done, it is a happening. The master is not a doer. He has learned the greatest secret of life: let-go. The master has drowned his ego and the idea of separation from existence itself.
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