A Quote by Mary Stewart
the difficult art I was attempting had, indeed a powerful fascination, before which the past faded, the future receded, and the whole of experience narrowed down to this stretch of glancing, glimmering water, and the fly I was trying to cast across it.
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These tenses-past, present and future-are not the tenses of time; they are tenses of the mind. That which is no longer before the mind becomes the past. That which is before the mind is the present. And that which is going to be before the mind is the future. Past is that which is no longer before you. Future is that which is not yet before you. And present is that which is before you and is slipping out of your sight. Soon it will be past.
The one and only substitute for experience which we have not ourselves had is art, literature. We have been given a miraculous faculty: Despite the differences of language, customs and social structure we are able to communicate life experience from one whole nation to another, to communicate a difficult national experience many decades long which the second of the two has never experienced.
We can start working with time if you wish," Chiang said, "till you can fly the past and the future. And then you will be ready to begin the most difficult, the most powerful, the most fun of all. You will be ready to begin to fly up and know the meaning of kindness and of love.
In that tremendous flash of freedom, on my way to do The Thing for the first time, sanctioned by Almighty Harry, I receded, faded back into the scenery of my own dark self, whole the other me crouched and growled. I would do It at last, do what I had been created to do. And I did.
He smiled at that, and then his gaze shifted to a spot over my shoulder and it faded. 'These doubts wouldn’t have anything to do with the company you’re keeping of late, would they?' I didn’t get a chance to answer before the shop door was thrown open and a furious war mage stomped in. Pritkin spotted me and his eyes narrowed. 'You shaved my legs?!' Mircea looked at me and folded his arms across his chest. I looked from one unhappy face to the other and suddenly remembered that I had somewhere else to be.
All the art of the past rises up before me, the art of all ages and all civilizations, everything becomes simultaneous, as if space had replaced time. Memories of works of art blend with affective memories, with my work, with my whole life.
William James describes a man who got the experience from laughing-gas; whenever he was under its influence, he knew the secret of the universe, but when he came to, he had forgotten it. At last, with immense effort, he wrote down the secret before the vision had faded. When completely recovered, he rushed to see what he had written. It was 'A smell of petroleum prevails throughout'.
Sometimes experience is an obstacle because you cast your future based on your past experience.
Every generation rewrites the past. In easy times history is more or less of an ornamental art, but in times of danger we are driven to the written record by a pressing need to find answers to the riddles of today.... In times of change and danger when there is a quicksand of fear under men's reasoning, a sense of continuity with generations gone before can stretch like a lifeline across the scary present and get us past that idiot delusion of the exceptional Now that blocks good thinking.
I remember Francis Bacon would say that he felt he was giving art what he thought it previously lacked. With me, it's what Yeats called the fascination with what's difficult. I'm only trying to do what I can't do.
It may seem rash indeed to draw conclusions valid for the whole universe from what we can see from the small corner to which we are confined. Who knows that the whole visible universe is not like a drop of water at the surface of the earth? Inhabitants of that drop of water, as small relative to it as we are relative to the Milky Way, could not possibly imagine that beside the drop of water there might be a piece of iron or a living tissue, in which the properties of matter are entirely different.
It is a cruel, ironical art, photography. The dragging of captured moments into the future; moments that should have been allowed to be evaporate into the past; should exist only in memories, glimpsed through the fog of events that came after. Photographs force us to see people before their future weighed them down.
If being an anti-art artist is difficult, being an anti-art art historian is a hard position indeed. His doctrinal revolutionism brings forth nothing new in art but reenacts upheavals on the symbolic plane of language. It provides the consoling belief that overthrows are occurring as in the past, that barriers to creation are being surmounted, and that art is pursuing a radical purpose, even if it is only the purpose of doing away with itself.
I had this crazy, a bit of a near-death experience in Estonia. I had these visions of the future but I was in this state where I felt the past, the present, and the future were all happening at the same time.
The paradox is that, while a concern with past and future is obviously central to psychological functioning, to behave as though one were indeed in the past or future, as many do, pollutes the lively possibilities of existence.
All I can say is that I'm getting married in the future. I've narrowed it down to that.
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