A Quote by Max Ernst
A series of powers are at work within the great stream of Expressionism who have no outward similarity to one another but a common direction of thrust, namely the intention to give expression to things of the psyche [Seelisches] through form alone.
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The Sage embraces similarity of understanding and pays no regard to similarity of form. The world in general is attracted by similarity of form, but remains indifferent to similarity of understanding.
I couldn’t get near what I wanted through seeing, recognizing and recreating, so I stood the problem on its head. I started studying squares, rectangles, triangles and the sensations they give rise to It is untrue that my work depends on any literary impulse or has any illustrative intention. The marks on the canvas are sole and essential agents in a series of relationships which form the structure of the painting.
All things are linked with one another, and this oneness is sacred; there is nothing that is not interconnected with everything else. For things are interdependent, and they combine to form this universal order. There is only one universe made up of all things, and one creator who pervades them; there is one substance and one law, namely, common reason in all thinking creatures, and all truth is one-if, as we believe, there is only one path of perfection for all beings who share the same mind.
Outward as well as inward morality helps to form the idea of a true Christian freedom. We are right to lay stress on inwardness, but in this world there is no inwardness without an outward expression.
Our hearts are not stones. A stone may disintegrate in time and lose its outward form. But hearts never disintegrate. They have no outward form, and whether good or evil, we can always communicate them to one another.
There is, however, in art another kind of external similarity which is founded on a fundamental truth. When there is a similarity of inner tendency in the whole moral and spiritual atmosphere, a similarity of ideals, at first closely pursued but later lost to sight, a similarity in the inner feeling of any one period to that of another, the logical result will be a revival of the external forms which served to express those inner feelings in an earlier age.
More and more are turning to photography as a medium of expression as well as communication. The leavening of aesthetic approaches continues. While it is too soon to define the characteristic of the photographic style today, one common denominator, rooted in tradition, seems in the ascendancy. The direct use of the camera for what it can do best, and that is the revelation, interpretation, and discovery of the world of man and of nature. The greatest challenge to the photographer is to express the inner significance through the outward form.
A third felicity of age is that it has found expression. The youth suffers not only from ungratified desires, but from powers untried, and from a picture in his mind of a career which has as yet no outward reality. He is tormented with the want of correspondence between things and thoughts.
Painting is a language of its own. You cannot interpret one form of expression with another form of expression.
Notable enough, however, are the controversies over the series 1 - 1 + 1 - 1 + 1 - ... whose sum was given by Leibniz as 1/2, although others disagree. ... Understanding of this question is to be sought in the word "sum"; this idea, if thus conceived - namely, the sum of a series is said to be that quantity to which it is brought closer as more terms of the series are taken - has relevance only for convergent series, and we should in general give up the idea of sum for divergent series.
Through my blue fingers, pink grains are falling, haphazard, random, a disorganized stream of silicone that seems pregnant with the possibility of every conceivable shape… But this is illusion. Things have their shape in time, not space alone. Some marble blocks have statues within them, embedded in their future.
Dancing is surely the most basic and relevant of all forms of expression. Nothing else can so effectively give outward form to an inner experience. Poetry and music exist in time. Painting and architecture are a part of space. But only the dance lives at once in both space and time. In it the creator and the thing created, the artist and the expression, are one. Each participates completely in the other. There could be no better metaphor for an understanding of the mechanics of the cosmos.
The universe is continually at its work of restructuring itself at a higher, more complex, more elegant level. The novelty, the new, more complex order, doesn't emerge from the present in a steady stream, nor at all places at the same rate. It comes, as all things do, in rhythmic waves; there will always be times and places of scarcity and stagnation and retrogression. Still, the long-term direction is clear. The intention of the universe is evolution.
Just what is meant by 'your word?' It means your conscious intention, your conscious direction, your conscious faith and acceptance that, because of what you are doing, the Power of Spirit will flow through your word in the direction you give It.
Dance in this century has remained primarily a personal ritual operating, like most avant-garde art, as an idiosyncratic form rather than a tribal expression of religious powers or a corporate expression of societal values.
Everybody has secrets and some are deeper and darker than others. I think if we peered within the psyche of another we would be all of those things and so very much more.
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