A Quote by Theodor W. Adorno
Every work of art is an uncommitted crime.
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Art is no crime. It's every artist's responsibility to make art that is meaningful
Every single work of art is the fulfillment of a prophecy; for every work of art is the conversion of an idea into an image.
Nothing has been left undone by the enemies of freedom. Every art and artifice, every cruelty and outrage has been practiced and perpetrated to destroy the rights of man. In this great struggle, every crime has been rewarded and every virtue has been punished.
A work of art should be like a well-planned crime.
A literary creation can appeal to us in all sorts of ways-by its theme, subject, situations, characters. But above all it appeals to us by the presence in it of art. It is the presence of art in Crime and Punishment that moves us deeply rather than the story of Raskolnikov's crime.
In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, conformable.
People do not follow uncommitted leaders. Commitment can be displayed in a full range of matters to include the work hours you choose to maintain, how you work to improve your abilities, or what you do for your fellow workers at personal sacrifice.
God is busy with the completion of your work, both outwardly and inwardly. He is fully occupied with you. Every human being is a work in progress that is slowly but inexplicably moving toward perfection. We are each an unfinished work of art both waiting and striving to be completed. God deals with each of us separately because humanity is a fine art of skilled penmanship where every single dot is equally important for the entire picture.
What would it be like if you lived each day, each breath, as a work of art in progress? Imagine that you are a masterpiece unfolding each second of every day, a work of art taking form with every breath.
The best crime stories are always about the crime and its consequences - you know, 'Crime And Punishment' is the classic. Where you have the crime, and its consequences are the story, but considering the crime and the consequences makes you think about the society in which the crime takes place, if you see what I mean.
Is there in every work of art something which shows reality as one and also something which shows reality as many and diverse? - must every work of art have a simultaneous presence of oneness and manyness, unity and variety?
It occurred to me that every work of art is a synecdoche, there's no way around it. Every creative work that someone does can only represent an aspect of the whole of something. I can't think of an exception to that.
We are not prepared to consider special category status for certain groups of people serving sentences for crime. Crime is crime is crime, it is not political
Art is the work of a human, an individual seeking to make a statement, to cause a reaction, to connect. Art is something new, every time, and art might not work, precisely because it's new, because it's human and because it seeks to connect.
What is it about a work of art, even when it is bought and sold in the market, that makes us distinguish it from . . . pure commodities? A work of art is a gift, not a commodity. . . works of art exist simultaneously in two “economies”, a market economy and a gift economy. Only one of these is essential, however: a work of art can survive without the market, but where there is no gift, there is no art.
Rather than following through on the proven crime and violence prevention techniques that work, we are back to tough-talking sound byte policies that have been proven to not only fail to reduce crime but actually increase crime, waste taxpayers' money and discriminate against minorities.
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