A Quote by Hans Hofmann
The general misunderstanding of a work of art is often due to the fact that the key to its spiritual content and technical means is missed. Unless the observer is trained to a certain degree in the artistic idiom, he is apt to search for things which have little to do with the aesthetic content of a picture. He is likely to look for pure representational values when the emphasis is really upon music-like relationships.
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In art the search for a content which is collectively understandable is false; the content will always be individual.
If you are content with being nobody in particular, content not to stand out, you align yourself with the power of the universe. What looks like weakness to the ego is in fact the only true strength. This spiritual truth is diametrically opposed to the values of our contemporary culture and the way it conditions people to behave.
High-class kitsch may well be "perfect" in its form and and composition: the academic painters were often masters of their craft. Thus, the accusation that a work of kitsch is based not on lack of for or aesthetic merit but on the presence of a particularly provocative emotional content. (The best art, by contrast, eschews emotional content altogether.)
As an actor, it's a relatively passive job unless you're generating your own content or writing your own content. So to a certain degree you're at the mercy of what is available, what you're reading, what you become passionate about, and ultimately, what people want to hire you for.
Painting for me is like a fabric, all of a piece and uniform, with one set of threads as the representational, esthetic element, and the cross-threads as the technical, architectural, or abstract element. These threads are interdependent and complementary, and if one set is lacking the fabric does not exist. A picture with no representational purpose is to my mind always an incomplete technical exercise, for the only purpose of any picture is to achieve representation.
The beautiful is and remains beautiful though it arouse no emotion whatever, and though there be no one to look at it. In other words, although the beautiful exists for the gratification of an observer, it is independent of him. In this sense music, too, has no aim (object), and the mere fact that this particular art is so closely bound up with our feelings by no means justifies the assumption that its aesthetic principles depend on this union.
Black metal - especially from the '90s - contains a certain production aesthetic that keys you into the emotive content. You feel it more intimately than, say, technical death metal, where everything is produced super-precisely.
Our task is not to find the maximum amount of content in a work of art, mush less to squeeze more content out of the work than is already there. Our task is to cut back on content so we can see the thing at all. The aim of all commentary on art now should be to make works of art - and, by analogy, our own experience - more, rather than less, real to us.
Men do not rest content with parrying the attacks of a superior, but often strike the first blow to prevent the attack being made. And we cannot fix the exact point at which our empire shall stop; we have reached a position in which we must not be content with retaining but must scheme to extend it, for, if we cease to rule others, we are in danger of being ruled ourselves. Nor can you look at inaction from the same point of view as others, unless you are prepared to change your habits and make them like theirs.
I believe that the brain has evolved over millions of years to be responsive to different kinds of content in the world. Language content, musical content, spatial content, numerical content, etc.
I look for an interesting and often times, fresh character. Something different that what is done all the time or than I've done recently. I look at who is directing. Those two variables as well as a third, which is the content and the quality of the screenplay. I look at the arcs of the scenes and characters and relationships.
It is a conscious choice to go for content-driven scripts because that is the key for any film to work. There are no two ways about it, and I have always been attracted to great content.
We often get blinded by the forms in which content is produced, rather than the job that the content does.
The difficulty with color is to go beyond the fact that it's color ? to have it be not just a colorful picture but really be a picture about something. It's difficult. So often color gets caught up in color, and it becomes merly decorative. Some photographers use it brilliantly to make visual statements combining color and content; otherwise it is empty.
In fact, jazz has such a great feeling and great emotional content that it really doesn't require you to have technical understanding of it. I think you just have to allow your feelings to go with the music and you will find yourself carried along by it fairly quickly.
If we continue to treat content as an extra to information architecture, to content management or to anything else, we miss a bright opportunity to influence users. Content is not a nice-to-have extra. Content is a star of the user experience show. Let’s make content shine.
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