A Quote by Rabindranath Tagore
In Art, man reveals himself and not his objects.
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Art is the production of objects for consumption, to be used and discarded while waiting for a new world in which man will have succeeded in freeing himself of everything, even of his own consciousness.
The man who works recognizes his own product in the world that has actually been transformed by his work. He recognizes himself in it, he sees his own human reality in it he discovers and reveals to others the objective reality of his humanity of the originally abstract and purely subjective idea he has of himself
Man never ceases to seek knowledge about the objects of his experiences, to understand their meaning for his existence and to react to them according to his understanding. Finally, out of the sum total of the meanings that he has deduced from his contacts with numerous single objects of his environment there grows a unified view of the world into which he finds himself "thrown" (to use an existentialist term again) and this view is of the third order.
Since the time of the cavemen, man has glorified himself, has made himself divine, and his monstrous vanity has caused human catastrophe. Art has collaborated in this false development. I find this concept of art which has sustained man's vanity to be loathsome.
A man who has attained mastery of an art reveals it in his every action.
It is a truism that as long as man loves but himself and his art he can never attain to the full measure of manhood or reach the sublimest heights of his art. He must seek to love men as brothers and art, not for the sake of art itself, but art as a means toward bringing all men up to that verdant plateau where their souls may be fed in very rejoicing in all that is true, beautiful, and abiding.
In a sense, every tool is a machine--the hammer, the ax, and the chisel. And every machine is a tool. The real distinction is between one man using a tool with his hands and producing an object that shows at every stage the direction of his will and the impression of his personality; and a machine which is producing, without the intervention of a particular man, objects of a uniformity and precision that show no individual variation and have no personal charm. The problem is to decide whether the objects of machine production can possess the essential qualities of art.
There is a man who exists as one of the most popular objects of leadership, legislation, and quasi-literature in the history of all men. . . . This man, that object of attention, attack, and vast activity, cannot make himself be heard, let alone understood. He has never been listened to. . . . That man is Black and alive in white America where the media of communication do not allow the delivery of his own voice, his own desires, his own rage.
[Man] is the only animal who lives outside of himself, whose drive is in external things—property, houses, money, concepts of power. He lives in his cities and his factories, in his business and job and art. But having projected himself into these external complexities, he is them. His house, his automobile are a part of him and a large part of him. This is beautifully demonstrated by a thing doctors know—that when a man loses his possessions a very common result is sexual impotence.
In the United States, man does not feel that he has been torn from the center of creation and suspended between hostile forces. He has built his own world, and it is built in his own image: it is his mirror. But now he cannot recognize himself in his inhuman objects, nor in his fellows.
There is no deception on the part of the woman, where a man bewilders himself: if he deludes his own wits, I can certainly acquit the women. Whatever man allows his mind to dwell upon the imprint his imagination has foolishly taken of women, is fanning the flames within himself -- and, since the woman knows nothing about it, she is not to blame. For if a man incites himself to drown, and will not restrain himself, it is not the water's fault.
The objects in our system are instead a help to the child himself, he chooses what he wants for his own use, and works with it according to his own needs, tendencies and special interests. In this way, the objects become a means of growth.
Sleep conceals the creative act while the objective world reveals it. In sleep man impresses the subconscious with his conception of himself.
Art imitates nature not in its effects as such, but in its causes, in its 'manner,' in its process, which are nothing but a participation in and a derivation of actual objects, of the Art of God himself.
It is not the self -critical who reveals his humility ( for does not everyone have some how to put up with himself? ). Rather, it is the man who continues to love the person who has criticized him.
I believe that the unity of man as opposed to other living things derives from the fact that man is the conscious life of himself. Man is conscious of himself, of his future, which is
death, of his smallness, of his impotence; he is aware of others as others; man is in nature, subject to its laws even if he transcends it with his thought.
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