Top 130 Modernism Quotes & Sayings - Page 2

The paradox of modernism is, writers make the decision to work with the continuous present, and to work with... stream of consciousness, as it's called, for emotional reasons, and the main emotional reason is verisimilitude. I mean, this is what surprises people: Life is not in the simple past.

Sadly, the Left is no longer liberal at all, for it has traded in individualism for collectivism, thus placing us into an oppression Olympics where victimhood is a virtue. This post-modernism - this cultural Marxism or whatever you want to call it - can only destroy; it cannot create.

A 'modern' man has nothing to add to modernism, if only because he has nothing to oppose it with. The well-adapted drop off the dead limb of time like lice.

Post-modernism has cut off the present from all futures. The daily media add to this by cutting off the past. Which means that critical opinion is often orphaned in the present.

Modernism has a reputation for being a forbidding phenomenon: its visual arts disconcertingly non-representational, its literary efforts devoid of the consolations of plot and character - even its films, it's argued, fall well short of that true desideratum: entertainment.

The desire for narration keeps on reasserting itself, so that since modernism and fiction brought narration to an end, it is sought in memoirs.

A lot of modernism does seem to come out of a fear of being thought an ordinary storyteller. So they tell it backwards and they tell it in the present tense and they cut loose the pages and shuffle them around - all that kind of stuff.

Postmodernism came nowhere close in quality to Modernism at its apogee, not least because that later style wholly lacked the social impetus that animated the designs most emblematic of the Modern Movement.

The 'International Style of Modernism' came with the advent of building services. In the end, the architecture became like a container space, essentially like a boring box with a basement full of machinery to make it inhabitable. As a result, buildings literally started to look identical all over the planet.

Literary modernism kind of grew out of a sense that, “Oh my god! I’m telling a story! Oh, that can’t be the case, because I’m a clever person. I’m a literary person! What am I going to do to distinguish myself? I know! I’ll write Ulysses.”

[Bob Dylan] builds his lyrics, of course, from personal experience, but it's also a literary work. He draws heavily on his knowledge of American lyric tradition as well as European modernism. But he should let the Nobel Prize Committee know if he is accepting it or not.

The fundamental dogma of Modernism - that, if the past is irrelevant to the future, then today is irrelevant to tomorrow - has created a throwaway society of disposable objects. That is sick.

Modernism is an outmoded way of thinking about design: it just doesn't reflect the way we live now. It always puts forward this idea that the past is irrelevant to tomorrow - and tomorrow is all that matters. But the past is part of who we are.

The collaboration which sometimes follows is seldom based on good will: usually on desire, rage, fear, pity or longing. The modern illusion concerning painting (which post-modernism has done nothing to correct) is that the artist is the creator. Rather he is a reciever. What seems like creaton is the act of giving form to what he has recieved.

Pope Benedict is an amazingly visionary person. What he has done is establish an evolutionary process that will help undo the Reformation. The Anglican Church has been hijacked by modernism, with synods trying to amend the faith and this process will allow traditional Anglicans to be themselves.

People tend to see modernism as the opposite of a celebration. They see it as a fracturing and an art built round an absence, but it's really a celebration of our existence.

Steve Coogan picks up enough to lecture an interviewer: This is a postmodern novel before there was any modernism to be post about. Later it's claimed that Tristram Shandy was No. 8 on the Observer's list of the greatest novels, which cheers everyone until they discover the list was chronological.

There is reason to be scared. Look at what has happened with fundamentalism - this is a reaction against modernity. It happens to be cloaked in religion, but these are people saying enough is enough. It's happened again and again through history. The good news is that modernism has always won.

Publishing has gone very middlebrow. It's turned its back on legacy of modernism and gone into a humanist mode. When people go through art school they are exposed to the history of the avant-garde, and there's a general understanding that what you're doing as an artist is to a large extent, not just regurgitating that history, but engaging with it. There's this denial of that in the mainstream publishing world.

I started thinking that if post modernism is about people opening up all their skeletons, I'm going the other way. I don't want anyone knowing anything about me anymore.

People say modernism killed poetry for them: it doesn't rhyme, it doesn't touch a popular musical oral tradition. Years ago, you memorized and read poetry; it was one of the things you were forced to learn. Now it has tiny role in school.

There are also two Christianities in the world today. There is (1) the Christianity of the New Testament, and there is (2) the Christianity of accommodation to modernism, egalitarianism, niceness, naturalism, pop psychology, secular humanism, relativism, subjectivism, individualism, "Enlightenment" rationalism or postmodern irrationalism. New converts to the first Christianity are constantly amazed and scandalized by finding many of their clergy to be in love with the second and in fear of the first.

Throughout history, cities have been associated with incredible bursts of creative energy - the Renaissance in Florence, or modernism in Paris. London is the cultural metropolis of the early 21st century.

I'm English enough to feel something of a gut-reaction to modernism, to continental philosophising and anything that smacks of a refusal to pay attention to the forensics: the empirical facts on the ground.

A work can become modern only if it is first postmodern. Postmodernism thus understood is not modernism at its end but in the nascent state, and this state is constant.

I never did calligraphy... But handwriting is an entirely different kind of thing. It's part of the syndrome of modernism... It's part of that asceticism.

I grew up in a modernist house, in a modernist culture. There was a love for modernism everywhere - the furniture, the books, the food, even the cutlery. So I learned very early to appreciate the value of design and the value of architecture.

Science fiction is the characteristic literary genre of the century. It is the genre that stands in opposition to literary modernism.

Forget [Le Corbusier ]. Forget Modernism. Forget yesterdays' tomorrow.

There's the tradition of the 19th-century ballets, and the 20th century has had a difficult time with that tradition. And it's had a difficult time with many components of the Romantic imagination because of modernism.

A lot of '20s musicals were a hodgepodge of melodrama, mixed with operetta and romance, and then some sense of modernism and some sense of irreverence.

Realistic, naturalistic art had dissembled the medium, using art to conceal art; Modernism used art to call attention to art.

To say that such-and-such a circumstance is 'Kafkaesque' is to admit to the denigration of an imagination that has burned a hole in what we take to be modernism - even in what we take to be the ordinary fabric and intent of language. Nothing is like 'The Hunger Artist.' Nothing is like 'The Metamorphosis.'

The voice is raised, and that is where poetry begins. And even today, in the prolonged aftermath of modernism, in places where "open form" or free verse is the orthodoxy, you will find a memory of that raising of the voice in the term "heightened speech".

Everyone complains that we can no longer intake huge chunks of text. I find that a reason to celebrate. It's something that has deep roots in modernism, stretching from the Futurists' use of typography to Pound's use of ideograms to concrete poetry.

Instant enlightenment. A quintessential modernism, culture and religion accommodated to the age of fast food and bumper stickers. But psyche and spirit are not so exempt from the natural domain that they can simply produce self-change instantaneously, on demand. Wisdom precipitates through a notoriously slow apparatus of retorts and flasks, and it has to find receptive ground only in a properly seasoned mind.

One of the very basic ideas of Post-Modernism is rejection of arbitrary power structures. Different people are sensitive to different kinds of power structures.

Our Christian faith - and correlatively, our account of apologetics - is tainted by modernism when we fail to appreciate the effects of sin on reason. When this is ignored, we adopt an Enlightenment optimism about the role of a supposedly neutral reason in the recognition of truth.

I think as someone who collects beautiful things from the past, the thing that I miss the most about modernism and the things I lament about the past are everyday things that you would use were made more beautifully.

You could never hide yourself in these places - in Mies's Farnsworth house, for example. That was a mistake of Modernism. People need places to hide from each other, too. You need everything.

I was...attacked for being a pasticheur, chided for composing "simple" music, blamed for deserting "modernism," accused of renouncing my "true Russian heritage." People who had never heard of, or cared about, the originals cried "sacrilege": "The classics are ours. Leave the classics alone." To them all my answer was and is the same: You "respect," but I love.

Most of my formal choices are a combination of everything I learned about form - semiotics, linguistics, and the history of style experimentations tethered to literary movements (formalism, deconstruction, modernism, and postmodernism), and the basic principal of breaking every rule I ever learned from a patriarchal writing tradition that never included my body or experience, and thus has nothing to offer me in terms of representation.

Modernism had two great wishes. It wanted its audience to be led toward a recognition of the social reality of the sign (away from the comforts of narrative and illusionism, was the claim); but equally it dreamed of turning the sign back to a bedrock of World/Nature/Sensation/Subjectivity which the to and fro of capitalism had all but destroyed.

The role of the architect as artist is an ancient one, but it was de-emphasized with the rise of modernism, which rejected the drawing-based Beaux-Arts tradition in favor of a more technocratic approach.

From the outset, MoMA followed the Bauhaus's strict prohibition against design that even hinted at the decorative, a prejudice that skewed the pioneering museum's view of Modernism for decades.

We try to turn buildings into landscapes - defying the idea of modernism which sees nature and buildings as two distinct elements.

Abstract art as it is conceived at present is a game bequeathed to painting and sculpture by art history. One who accepts its premises must consent to limit his imagination to a depressing casuistry regarding the formal requirements of modernism.

I like Modernism. I grew up around these sort of eclectic, heavily carved, baroque, rococo, highly ornamented styles that were in my life from the time that I was a child until now in my business life. So I like clean, straight, minimalist lines.

I'm operating in the gap between the trajectory of modernity and the trajectory of modernism. So what people think is design is not design, it's my attempt to engage with the trajectory of modernity.

Unless criticism refuses to take itself quite so seriously or at least to permit its readers not to, it will inevitably continue to reflect the finicky canons of the genteel tradition and the depressing pieties of the Culture Religion of Modernism.

In Modernism, reality used to validate media. In Postmodernism, the media validate reality. If you don't believe this, just think how many times you've described some real event as being 'just like a movie.'

So many people's school experience contains at least one instance of being looked down upon because they didn't care for one or more of the sacred mutant outcroppings of High Modernism, and they concluded from this that Literature is all about impenetrable stuff that they don't like. That damn Hemingway with his crazy free verse.

If a dictator takes up my ideas, the resulting town will survive the political system that commissioned it and stand as a social good. Besides, modernism rather than classicism has dominated the architecture of totalitarian regimes of both the left and right.

The voice is raised, and that is where poetry begins. And even today, in the prolonged aftermath of modernism, in places where 'open form' or free verse is the orthodoxy, you will find a memory of that raising of the voice in the term 'heightened speech.'

Those wretches tainted with the error of Indifferentism and Modernism hold that dogmatic truth is not absolute, but relative: that is, that it must adapt itself to the varying necessities of the times and the varying dispositions of souls, since it is not contained in an unchangeable revelation, but is, by its very nature, meant to accommodate itself to the life of man.

Modernism in architecture went hand in hand with socialist and fascist projects to rid old Europe of its hierarchical past

Modernism in Vienna brought together science and culture in a new way to create an Age of Insight that emphasized a more complex view of the human mind than had ever existed before.

I teach art at a famous art school, and yet I don't have really the least notion what post-modernism means, but we have people in the letters and science department that understand it quite well and the students go there if they want to understand what this term that is being bandied about is all about, but I've never understood it.

Without this spirit, Modernist architecture cannot fully exist. Since there is often a mismatch between the logic and the spirit of Modernism, I use architecture to reconcile the two.

Universal design systems can no longer be dismissed as the irrelevant musings of a small, localized design community. A second modernism has emerged, reinvigorating the utopian search for universal forms that marked the birth of design as a discourse and a discipline nearly a century earlier.