A Quote by Terry Teachout

Instrumental music is nonverbal and thus radically ambiguous. It doesn't lend itself to what might be called content-oriented analysis, though plenty of intellectuals have tried to analyze it in precisely that way.
There is a principle of human affairs that goes back millennia, which is that you don't look in the mirror. You can trace this principle back to the Bible. The designated intellectuals of that time are called prophets, which is a mistranslation of a Hebrew word, but they were basically intellectuals, giving geopolitical analysis, criticizing the moral practice of leadership, etc. Now, these people were not treated very nicely. There were other intellectuals who were treated nicely, namely those who centuries later came to be called false prophets. These were the flatterers of the court.
Each culture might lend its own dialect, but above all that is the language of music itself, and it doesn't care about politics or boundaries.
True drama can be conceived only as resulting from the collective impulse of all the arts to communicate in the most immediate way with a collective public... Thus especially the art of tone, developed with such singular diversity in instrumental music, will realize in the collective artwork its richest potential -- will indeed incite the pantomimic art of dancing in turn to wholly new discoveries and inspire the breath of poetry no less to an undreamed-of fullness. For in its isolation music has formed itself an organ capable of the most immeasurable expression - the orchestra.
The magic that you find in surf music, I think, is really timeless. You know, when I was very young, I was in a surf band. Surf music is an instrumental music that still means a lot to me, not in an nostalgic way, but as something that really gets to the heart of the guitar itself.
Customary though it may be to write about that institutionalized pastime as though it existed apart from the general environment, my story does not lend itself to such treatment.
Painting is a medium in which the mind can actualize itself; it is a medium of thought. Thus painting, like music, tends to become its own content.
If the time should ever come when what is now called Science, thus famliarised to men, shall be ready to put on, as it were, a form of flesh and blood, the Poet will lend his divine spirit to the aid the transfiguration, and will welcome the Being thus produced, as a dear and genuine inmate of the household of man.
Intellectuals love Jefferson and hate markets, and intellectuals write most of the books. Intellectuals often think that they should, for the benefit of mankind, act as fiduciaries for the clods who don't have to be intellectuals, and I suspect that has to do with [why historians love Jefferson and not Hamilton, even though Hamilton's vision of America's commercial future was vastly more accurate than Jefferson's].
Everything that from eternity has happened in heaven and earth, the life of God and all the deeds of time simply are the struggles for Spirit to know Itself, to find Itself, be for Itself, and finally unite itself to Itself; it is alienated and divided, but only so as to be able thus to find itself and return to Itself...As existing in an individual form, this liberation is called 'I'; as developed to its totality, it is free Spirit; as feeling, it is Love; and as enjoyment, it is Blessedness.
You look back, and it was important to bring back instrumental music, and it was great to be a part of that wave of instrumental rock music. And clearly it was something I was destined to do.
With 'Holes' I was troubled that there weren't very many female characters. I tried to put them in where I could. But the setting didn't lend itself to girls.
I came from the time of so-called New Criticism - the poem in itself, the writing in itself - but around that time I had come across a critic called Kenneth Burke, who wrote a book called A Rhetoric of Motives, and it seemed to talk about another way, and gradually I realized that other way was that the reader made a difference.
Thus we arrive at the singular conclusion that of all the information passed by our cultural assets it is precisely the elements which might be of the greatest importance to us and which have the task of solving the riddles of the universe and of reconciling us to the sufferings of life -- it is precisely those elements that are the least well authenticated of any.
All research in the cultural sciences in an age of specialization, once it is oriented towards a given subject matter through particular settings of problems and has established its methodological principles, will consider the analysis of the data as an end in itself.
On 'Hairless Toys,' I've tried to create an ambiguous character to go with an ambiguous record. She's anything but rock n' roll - she's so not rock n' roll that, in a twisted way, she's kind of radical. She's like someone from my memory, almost like my mother, and she's lost in some space-time between the 1960s and the late '80s.
What if you could radically alter the way stories get told? What if the way people wanted to consume content actually changed what you could make?
This site uses cookies to ensure you get the best experience. More info...
Got it!