A Quote by Robert Breault
Sometimes, to pursue a new idea, the artist must forfeit his deposit on an old idea.
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Sometimes an old idea gets relegated to the back of the line in the mad delight of a new idea, one you've never had before, and that you write fast in the thrill of the new. No rules. Just stories, and you tell as many of them as you can.
A genuine invention in the realm of ideas must first emerge as an abstruse and even partial concept? At first blusha new idea appearstobe verycloseto insanity because to be new it must reverse important basic beliefs and assumptions which, in turn, have been institutionalized and are administered by one or another kind of priesthood with a vested interest in an old idea.
Working on a new idea is kind of like getting married. Then a new idea comes along and you think, 'Man, I'd really like to go out with her.' But you can't. At least not until the old idea is finished.
New York has influenced me a lot in terms of my own independence. I'm really struck by the idea of authenticity, and I think New York embodies that idea, even though people are like, 'I miss the old New York.' But at its core, it has this natural, authentic energy. L.A. lacks that idea; it's painted over.
To take in a new idea you must destroy the old, let go of old opinions, to observe and conceive new thoughts. To learn is but to change your opinion.
We must grant the artist his subject, his idea, his donn´e: our criticism is applied only to what he makes of it.
The vitality of thought is in adventure. Idea's won't keep. Something must be done about them. When the idea is new, its custodians have fervour, live for it, and, if need be, die for it. Their inheritors receive the idea, perhaps now strong and successful, but without inheriting the fervour; so the idea settles down to a comfortable middle age, turns senile, and dies.
It's very good for an idea to be commonplace. The important thing is that a new idea should develop out of what is already there so that it soon becomes an old acquaintance. Old acquaintances aren't by any means always welcome, but at least one can't be mistaken as to who or what they are.
Whoever lives for poetry must read everything. How often has the light of a new idea sprung for me from a simple brochure! When one allows himself to be animated by new images, he discovers iridescence in the images of old books. Poetic ages unite in a living memory. The new age awakens the old. The old age comes to live again in the new. Poetry is never as unified as when it diversifies.
All who have read a few old books have picked up the old tactics of considering every new idea a 'heresy' which must be rooted out.
One thing has always been true: That book or that person who can give me an idea or a new slant on an old idea is my friend.
The central idea of the Eastern Fathers was that of theosis, the divinization of all creatures, the transfiguration of the world, the idea of the cosmos and not the idea of personal salvation...Only later Christian consciousness began to value the idea of hell more than the idea of the transfiguration and divinization of the world...The Kingdom of God is the transfiguration of the world, the universal resurrection, a new heaven and a new earth.
On Laurence Olivier as Hamlet in a 1948 film: Olivier's idea of introspection was to hood his eyes, dentalize his consonants and let the camera circle his blondined head like a sparrow looking for a place to deposit its droppings.
No one ever heard of the truth being enforced by law. When the secular is called in to sustain an idea, whether new or old, it is always a bad idea, and not infrequently it is downright idiotic.
When I taught art, I was always asked, 'How do you know you're an artist? What makes you an artist?' And to me, it's like breathing. You don't question if you breathe; you have to breathe. So if you wake up in the morning, and you have to realize an idea, and there's another idea, and another, maybe you are really an artist.
The artist has some internal experience that produces a poem, a painting, a piece of music. Spectators submit themselves to the work, which generates an inner experience for them. But historically it's a very new, not to mention vulgar, idea that the spectator's experience should be identical to, or even have anything to do with, the artist's. That idea comes from an over-industrialized society which has learned to distrust magic.
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