A Quote by Milan Kundera

A gesture cannot be regarded as the expression of an individual, as his creation (because no individual is capable of creating a fully original gesture, belonging to nobody else), nor can it even be regarded as that person's instrument; on the contrary, it is gestures that use us as their instruments, as their bearers and incarnations
If our planet has seen some eighty billion people it is difficult to suppose hat every individual has had his or her own repertory of gestures. Arithmetically, it is simply impossible. Without the slightest doubt, there are far fewer gestures in the world than there are individuals. That finding leads us to a shocking conclusion: a gesture is more individual than an individual. We could put it in the form of an aphorism: many people, few gestures.
For one thing, I want gesture-any kind of gesture, all kinds of gesture-gentle or brutal, joyous or tragic; the gesture of space soaring, sinking, streaming, whirling; the gestures of light flowing or spurting through color. I see everything as possessing or possessed by gesture. I've often thought of my paintings as having an axis around which everything revolves.
I actually started to think a lot about the difference between a creative gesture and a noncreative gesture. I decided that all gestures were creative. Because you always have to make a decision at some point.
Because beyond their practical function, all gestures have a meaning that exceeds the intention of those who make them; when people in bathing suits fling themselves into the water, it is joy itself that shows in the gesture, notwithstanding any sadness the divers may actually feel. When someone jumps into the water fully clothed, it is another thing entirely: the only person who jumps into the water fully clothed is a person trying to drown; and a person trying to drown does not dive headfirst; he lets himself fall: thus speaks the immemorial language of gestures.
The basis of artistic creation is not what is, but what might be; not the real, but the possible. Artists create according to the same principles as nature, but they apply them to individual entities, while nature, to use a Goethean expression, thinks nothing of individual things. She is always building and destroying, because she wants to achieve perfection, not in the individual thing, but in the whole.
If every person has the right to defend - even by force - his person, his liberty, and his property, then it follows that a group of men have the right to organize and support a common force to protect these rights constantly. Thus, since an individual cannot lawfully use force against the person, liberty, or property of another individual, then the common force - for the same reason - cannot lawfully be used to destroy the person, liberty, or property of individuals or groups.
While I cannot be regarded as a pillar, I must be regarded as a buttress of the church, because I support it from outside.
in race relations, the single gesture and the single individual are more often than not doomed to failure. Only the group and the long-term, undeviating policy make much headway. ... if you want to make the world a better place, the first thing you must accept is the fact that you cannot transcend your limitations as an individual.
The term 'charisma' will be applied to a certain quality of an individual personality by virtue of which he is considered extraordinary and treated as endowed with supernatural, superhuman, or at least specifically exceptional powers or qualities. These are such as are not accessible to the ordinary person, but are regarded as of divine origin or as exemplary, and on the basis of them the individual concerned is treated as a 'leader.
My work is not so overtly about movement. My horses' gestures are really quite quiet, because real horses move so much better than I could pretend to make things move. For the pieces I make, the gesture is really more within the body, it's like an internalized gesture, which is more about the content, the state of mind or of being at a given instant. And so it's more like a painting...the gesture and the movement is all pretty much contained within the body.
Gesture will survive whatever kind of light you have. Gesture can triumph over anything because of its narrative content.
The more he identifies with the dominant images of need, the less he understands his own life and his own desires. The spectacle’s estrangement from the acting subject is expressed by the fact that the individual’s gestures are no longer his own; they are the gestures of someone else who represents them to him.
The gesture is the thing truly expressive of the individual - as we think so will we act.
The freedom of an individual depends upon that individual's freedom to alter his considerations of space, energy, time and life and his roles in it. If he cannot change his mind about these, he is then fixed and enslaved amidst barriers such as those of the physical universe, and barriers of his own creation. Man thus is seen to be enslaved by barriers of his own creation. He creates these barriers himself, or by agreeing with things which hold these barriers to be actual.
Gestures come first! Before we're consciously aware of our thoughts, we start to gesture. Pay attention to your gestures, and others', and you can become a more powerful communicator.
Every gesture is a gesture from the blood, every expression a symbolic utterance... Everything is of the blood, of the senses.
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