A Quote by Susanne Katherina Langer
... the image of feeling created by artists, in every kind of art -- plastic, musical, poetic, balletic -- serves to hold the reality itself for our labile and volatile memory, as a touchstone to test the scope of our intellectual constructions.
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The brain appears to possess a special area which we might call poetic memory and which records everything that charms or touches us, that makes our lives beautiful ... Love begins at the point when a woman enters her first word into our poetic memory.
You have to begin to lose your memory, if only in bits and pieces, to realize that memory is what makes our lives. Life without memory is no life at all... Our memory is our coherence, our reason, our feeling, even our action. Without it we are nothing.
We know only what we do, what we make, what we construct; and all that we make, all that we construct, are realities. I call them images, not in Plato's sense (namely that they are only reflections of reality), but I hold that these images are the reality itself and that there is no reality beyond this reality except when in our creative process we change the images: then we have created new realities.
It's energy intensification, where we essentially have, through our light bulbs and cars, the manpower of [hundreds of] people working on our behalf, helping our food being created, helping our materials like steel and plastic and wood and paper be created. Our lifestyles are incredibly energy intense.
In time of crisis, we summon up our strength. Then, if we are lucky, we are able to call every resource, every forgotten image that can leap to our quickening, every memory that can make us know our power. And this luck is more than it seems to be: it depends on the long preparation of the self to be used.
The measure of mindfulness, the touchstone for sanity in this society, is our level of productivity, our attention to responsibility, our ability to plain and simple hold down a job.
What we call our data are really our own constructions of other people’s constructions of what they and their compatriots are up to.
The reality is that art has often risen to greater heights than the people who created it. Many flawed artists have created great works of art. You have to decide if you are going to listen to Richard Wagner's music or not because he was very anti-Semitic.
What we hold in our heads - our memory, our feelings, our thoughts, our sense of our own history - is the sum of our humanity.
We are all created in the image of our Creator - Love itself.
...I don't see myself as a documentary photographer. I am more drawn to the image itself, rather than to the description of a scene. And, anyway, every image only halfway represents reality, whereas the other half is rather, more or less, fulfilling our imagination.
Who among us has not, in moments of ambition, dreamt of the miracle of a form of poetic prose, musical but without rhythm and rhyme, both supple and staccato enough to adapt itself to the lyrical movements of our souls, the undulating movements of our reveries, and the convulsive movements of our consciences? This obsessive ideal springs above all from frequent contact with enormous cities, from the junction of their innumerable connections.
I think the real test of psychedelics is what you do with them when you're not on them, what kind of culture you build, what kind of art, what kind of technologies... What's lacking in the Western mind is the sense of connectivity and relatedness to the rest of life, the atmosphere, the ecosystem, the past, our children's future. If we were feeling those things we would not be practicing culture as we are.
Whatever I hold in my mind tends to manifest itself in my life. What we believe and assume creates most of our reality and our experience.
A renewed commitment to the freedom and opportunity of our people is the touchstone of our time. In this new century, where tests are many and challenges change with the shifting of the wind, we must hold fast to the principles that have made our nation the envy of the world.
The voice of our age seems by no means favorable to art, at all events to that kind of art to which my inquiry is directed. The course of events has given a direction to the genius of the time that threatens to remove it continually further from the ideal of art. For art has to leave reality, it has to raise itself bodily above necessity and neediness; for art is the daughter of freedom, and it requires its prescriptions and rules to be furnished by the necessity of spirits and not by that of matter.
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