A Quote by Magnus Larsson

While designed to visually seduce, Dune is not primarily a formal exercise but a social, ecological, cultural one. — © Magnus Larsson
While designed to visually seduce, Dune is not primarily a formal exercise but a social, ecological, cultural one.
I would consider myself simply a critic of the market economy. My standard isn't primarily political. First of all, it's ecological. And then I get to matters that are social and cultural.
To overcome our biological limitations as individuals, we have co-evolved collective systems and capacities - cultural, social, economic, political, scientific, media, educational, public relations, etc. But the flaw in all that is that we have designed them primarily for comfort, profit, power, control, and entertainment rather than for collective intelligence, sanity, and wisdom.
The type of adverts to be found on television and in glossy magazines are visually designed to have a power over the mind before they can even be questioned. The dark side of my work, primarily concerns the internal mechanisms of visual imagery and how these mechanisms address the mind.
Science, Government, Education, Art, the cultural monolith may be said to exist primarily to exercise a paternal influence, decorously if possible, aggressively if necessary, to enforce certain accepted images upon individuals.
Advertizing, television and film all wield mighty powers to visually seduce us, while much fine art leaves us indifferent, confused or, at worst, repulsed. There is a desperate need for creative Christians to redeem the visual arena from both forms of excess, cutting through all the false glamour, tawdry baseness and dense obfuscation.
The enormous social change involved in a sexual revolution is basically a matter of altered consciousness, the exposure and elimination of social and psychological realities underlying political and cultural structures. We are speaking, then, of a cultural revolution, which, while it must necessarily involve the political and economic reorganization traditionally implied by the term revolution, must go far beyond this as well.
The family is both a biological and a cultural group. It is biologic in sense that it is the best arrangement for begetting children and protecting them while they are dependent. It is a cultural group because it brings into intimate association persons of different age and sex who renew and reshape the folkways of the society into which they are born. The household serves as a "cultural workshop" for the transmission of old traditions and for the creation of new social values.
In general, I don't think that economic, social and cultural rights are primarily a matter of going to court. They are most useful today as commitments which can help ensure effective and equitable policy-making at every level.
Until society can be reclaimed by an undivided humanity that will use its collective wisdom, cultural achievements, technological innovations, scientific knowledge, and innate creativity for its own benefit and for that of the natural world, all ecological problems will have their roots in social problems.
We see a world of abundance, not limits. In the midst of a great deal of talk about reducing the human ecological footprint, we offer a different vision. What if humans designed products and systems that celebrate an abundance of human creativity, culture, and productivity? That are so intelligent and safe, our species leaves an ecological footprint to delight in, not lament?
The body must be regarded as a site of social, political, cultural and geographical inscriptions, production or constitution. The body is not opposed to culture, a resistant throwback to a natural past; it is itself a cultural, the cultural product.
While the West tries to turn its civilization into cultural variety hour, Islam tries to turn Muslim lands into a cultural monolith. The same West that justifies the rap culture thinks that every Muslim terrorist bombing is an expression of economic angst or social alienation.
Children go from being a kind of cultural protectorate to the Junior Auxiliary of the tube-watching nation at large, and programs are designed for them on the same principle as they're designed for grown-ups: as a way to sell eyeballs to advertisers.
The blues are important primarily because they contain the cultural expression and the cultural response to blacks in America and to the situation that they find themselves in. And contained in the blues is a philosophical system at work. And as part of the oral tradition, this is a way of passing along information.
A lot of magic is designed to appeal to people visually, but what I'm trying to affect is their minds, their moods, their perceptions.
Dune was really my first Hollywood job. It was such a small part, but I opened the movie. I was about 19 years old and I had to make this speech, and I didn't understand most of the words because they were, you know, words from Dune.
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