A Quote by Frederick Lenz

If there's no background, no foreground, no opposition, no complements, then there's no change becasue there's no subject and object. — © Frederick Lenz
If there's no background, no foreground, no opposition, no complements, then there's no change becasue there's no subject and object.
If character is the foreground of fiction, setting is the background, and as in a painting's composition, the foreground may be in harmony or in conflict with the background.
An object of art creates a public capable of finding pleasure in its beauty. Production, therefore, not only produces an object for the subject, but also a subject for the object.
There is no foreground or background, only a continuity of interlacing relationships
So much of my work is defined by the difference between the figure in the foreground and the background. Very early in my career, I asked myself, "What is that difference?" I started looking at the way that a figure in the foreground works in eighteenth- and nineteenth-century European paintings and saw how much has to do with what the figure owns or possesses. I wanted to break away from that sense in which there's the house, the wife, and the cattle, all depicted in equal measure behind the sitter.
Moving ourselves to the background and others to the foreground is evidence that the (spiritual) search is achieving its purpose.
If religious feeling is put in opposition to social change, then it does become an opium, but if it is joined to the struggle for social change then it is a wonderful medicine.
In creativity the way will be found for subject to pass into object, the identity of subject with object will be restored. All the great creators have foreseen this turning-point. Today, in the depths of culture itself and in all its separate spheres, this crisis of creativity is ripening.
What's genius about 'Gravity' is that you are close upon the actors, but 3D works best when you have foreground, middle ground and background.
It is the subjective world that rules the objective. Change the subject, and the object is bound to change; purify youreslf, and the world is bound to be purified.
As a child, I'd always liked cowboys and Indians stories where there were two layers - gruesome in the foreground but funny in the background.
The Opposition aren't really the Opposition. They're just called the Opposition. But in fact they are the Opposition in exile. The Civil Service are the Opposition in residence.
Start with the foreground. Compositions fail when the foreground is treated as an afterthought.
The various forms of education or ‘normalization’ imposed upon an individual consist in making him or her change points of subjectification, always moving towards a higher, nobler one in closer conformity with the supposed ideal. Then from the point of subjectification issues a subject of enunciation, as a function of a mental reality determined by that point. Then from the subject of enunciation issues a subject of the statement, in other words, a subject bound to statements in conformity with a dominant reality
He who thinks he can have flesh and bones without being subject to any external influence, or any accidents of matter, unconsciously wishes to reconcile two opposites, viz., to be at the same time subject and not subject to change. If man were never subject to change there could be no generation; there would be one single being, but no individuals forming a species.
When we have complements or oppositions, change occurs.
When I started making my own records, I had this idea of drowning out the singer and putting the rest in the foreground. It was the background that interested me.
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