A Quote by Kehinde Wiley
What came out of that was an intense obsession with status anxiety. So much of these portraits are about fashioning oneself into the image of perfection that ruled the day in the 18th and 19th centuries. It's an antiquated language, but I think we've inherited that language and have forwarded it to its most useful points in the 21st century.
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Yiddish, originally, in Eastern Europe was considered the language of children, of the illiterate, of women. And 500 years later, by the 19th century, by the 18th century, writers realized that, in order to communicate with the masses, they could no longer write in Hebrew. They needed to write in Yiddish, the language of the population.
One layer was certainly 17th century. The 18th century in him is obvious. There was the 19th century, and a large slice, of course, of the 20th century; and another, curious layer which may possibly have been the 21st.
The poem is the literary form of the 21st century. It's able to connect young people in a deep way to language... it's language as play.
I don't believe, in the 21st century, in the balance of power system. This is a European idea of the 19th and 20th centuries.
Although the stories are very present in my book, and very present in my mind, what I was most interested in was the question of why it had attracted such a following in the 18th Century. It's less mysterious that it attracted a following in the Romantic period, and in the 19th Century, but the early 18th Century when the Rationalists fell in love with it...that was mysterious. What I wanted to look at was the forms of enchantment.
The writer I feel the most affinity with - you said you felt my books are 19th century novels, I think they're 18th century novels - is Fielding, Henry Fielding, he's the guy who does it for me.
The language of the moment or, as it were, the language of the order in which we live, is the image. I felt that if I wanted to commune with the public, I should best do so through the language of image. It's a conscious embrace of a contradiction.
The 19th century was a century of empires, the 20th century was a century of nation states. The 21st century will be a century of cities.
People talk very much about, 'What can we do with the orchestra in the 21st century?' We should think about the 21st century, of course.
The initial 18th-, 19th-century intention was to give the less-educated lower classes a way to move up into this new, rising middle class, to enable them to fit in. So our view of language as being class-based is an unintended consequence of the drive to help educate rising businessmen.
Let's forget a little about the 19th century and start looking at the 21st century.
We believe we can also show that words do not have exactly the same psychic "weight" depending on whether they belong to the language of reverie or to the language of daylight life-to rested language or language under surveillance-to the language of natural poetry or to the language hammered out by authoritarian prosodies.
Also, they don't understand - writing is language. The use of language. The language to create image, the language to create drama. It requires a skill of learning how to use language.
The earliest language was body language and, since this language is the language of questions, if we limit the questions, and if we only pay attention to or place values on spoken or written language, then we are ruling out a large area of human language.
The 19th century was the century of empires, the 20th was the century of nation states, and the 21st is the century of cities and mayors.
Now, as Mandelbrot points out, ... Nature has played a joke on the mathematicians. The 19th-century mathematicians may not have been lacking in imagination, but Nature was not. The same pathological structures that the mathematicians invented to break loose from 19th-century naturalism turn out to be inherent in familiar objects all around us.
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