A Quote by Louise Bourgeois
Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern.
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Make it new is the message not just of modern art but of modern consumerism, of which modern art is largely a mirror image.
It is often said that in today's modern and postmodern world that the forces of darkness are upon us. But I think not; in the Dark and the Deep there are truths that can always heal. It is not the forces of darkness but of shallowness that everywhere threaten the true, and the good, and the beautiful, and that ironically announce themselves as deep and profound. It is an exuberant and fearess shallowness that everywhere is the modern danger, the modern threat, and that everywhere nonetheless calls to us as savior.
Fantasy is more than an escape from the truths of the world and the past: it is an open acknowledgment that those truths are complex and morally difficult. It offers a different route to creating something which will resonate with readers, in a way which resists the erasure of privacy and autonomy which pervades our modern world.
Kitsch is all that the modern world makes that's not modern, which is most of it.
The modern believer is not suspicious enough, which is perhaps why when they try to construct arguments in their defence, the convictions are left doing all the work and reason, debilitated by neglect, weakly fails to prop them up.
The modern believer is not suspicious enough, which is perhaps why, when they try to construct arguments in their defence, the convictions are left doing all the work and reason, debilitated by neglect, weakly fails to prop them up.
It's modern day. It is modern day. Some of the cars are older but it is absolutely modern day. There are modern cars in it, modern people, modern clothes, modern talk. We wrote 'Valentine' to sort of pay tribute to all the old slasher movies that we grew up with and I think that we did that.
The tendency of modern scientific teaching is to neglect the great books, to lay far too much stress upon relatively unimportant modern work, and to present masses of detail of doubtful truth and questionable weight in such a way as to obscure principles.
The modern notion of art is an essentially religious or magical one in which the artist is viewed as a holy beast who in some way, big or small, receives flashes from the godhead, which is known as creativity.
In the modern world, all literary art is necessarily political -- especially that which pretends not to be.
Industrial Society is not merely one containing 'industry,' large-scale productive units capable of supplying man's material needs in a way which can eliminate poverty: it is also a society in which knowledge plays a part wholly different from that which it played in earlier social forms, and which indeed possesses a quite different type of knowledge. Modern science is inconceivable outside an industrial society: but modern industrial society is equally inconceivable without modern science. Roughly, science is the mode of cognition of industrial society, and industry is the ecology of science.
As a composer I might class myself as a Neo-Romantic, inasmuch as I have always regarded music as a highly personal and emotional form of expression. I like to write music which takes its inspiration from poetry, art and nature. I do not care for purely decorative music. Although I am in sympathy with modern idioms, I abhor music which attempts nothing more than the illustration of a stylistic fad. And in using modern techniques, I have tried at all times to subjugate them to a larger idea or a grander human feeling.
It is beyond a doubt that during the sixteenth century, and the years immediately preceding and following it, poisoning had been brought to a pitch of perfection which remains unknown to modern chemistry, but which is indisputably proved by history. Italy, the cradle of modern science, was at that time, the inventor and mistress of these secrets, many of which are lost.
It is a Modern day, and these times need Modern solutions to Modern problems.
When you objectively observe the most spiritual area to which modern people devote themselves, the religions, ask yourself if the basis of modern culture, particularly in religion, is not human self-interest. It is typical of modern sermons that the preacher criticizes people for their selfishness.
But the thing that stands eternally in the way of really good writing is always one: the virtual impossibility of lifting to the imagination those things which lie under the direct scrutiny of the senses, close to the nose. It is this difficulty that sets a value upon all works of art and makes them a necessity. The senses witnessing what is immediately before them in detail see a finality which they cling to in despair, not knowing which way to turn. Thus this so-called natural or scientific array becomes fixed, the walking devil of modern life.
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