The simultaneousness of states of mind in the work of art: that is the intoxicating aim of our art... In the pictorial description of the various states of mind of a leave-taking, perpendicular lines, undulating lines and as it were worn out, clinging here and there to silhouettes of empty bodies, may well express languidness and discouragement. Confused and trepidating lines, either straight or curved, mingled with the outlined hurried gestures of people calling to one another will express a sensation of chaotic excitement. On the other hand, horizontal lines, fleeting, rapid and jerky, brutally cutting in half lost profiles of faces or crumbling and rebounding fragments of landscape, will give the tumultuous feelings of the person going away.
Umberto BoccioniRelated topics
aim art calling chaotic clinging crumbling cutting description discouragement empty excitement express half hand horizontal hurry jerky landscape leave-taking lost mind people perpendicular person pictorial rapid sensation straight undulating worn well work languidness lines rebounding simultaneousness states feelingsRelated quotes
The worst thing that can happen to advanced devotees who are fixed in Krishna consciousness is that they will go back to the spiritual world. Thus, they are enabled by calamitous situations to go back to Krishna more quickly. It is a part of the process of devotion that from time to time everyone must be tested in various ways. When we take to devotional service we are declaring war against Maya. We are on a battlefield, engaged in our own battle of Kuruksetra. We shouldn't read the Bhagavad-gita and think that it is merely some fascinating ancient history and philosophy. We should also understand that Arjuna is representing every person who is trying to take shelter of Krishna. Arjuna had to undergo bewilderment and serious choices, but Krishna was present to protect him.
Bhakti Tirtha Swami
Justice is the end of government. It is the end of civil society. It ever has been, and ever will be, pursued, until it be obtained, or until liberty be lost in the pursuit. In a society, under the forms of which the stronger faction can readily unite and oppress the weaker, anarchy may as truly be said to reign, as in a state of nature where the weaker individual is not secured against the violence of the stronger: And as in the latter state even the stronger individuals are prompted by the uncertainty of their condition, to submit to a government which may protect the weak, as well as themselves: so in the former state, will the more powerful factions be gradually induced by a like motive, to wish for a government which will protect all parties, the weaker as well as the more powerful.
Alexander Hamilton
I am always interested in the ways of scoring the sound of the poem, especially a poem with long lines. Spaces within a line, double colons, slashes, are indications of pause, of breath, of urgency, they are not metrically exact as in a musical notation but they serve (I hope) to make the reader think about the sound of the poem-just as traffic symbols, when driving, make us almost unconsciously aware of a steep hill, an intersection, an icy bridge etc. Poets have used such indicators long before modernism-Dickinson's dashes and capitals are one example. Contemporary composers have also expanded on classical notation with new, self-invented markings. You want to find a way that is not random or chaotic but allows for various renderings of a line, a punctuation of the imagination.
Adrienne Rich
The subject detects the presence and interrelationships of the basic components of one of the two-dimensional drawings - particularly, the variously oriented straight lines, the several types of vertices by which they are connected and, presumably, something of the structural relationships among these components within the two-dimensional pattern. Then, on the basis of some higher-level processing of these extracted features and their interrelationships, an internal representation, code, or verbal description is generated for each picture separately that captures the intrinsic structure of the three-dimensional object in a form that is independent of the particular orientation in which that object happens to be displayed.
Roger Shepard
America is no longer afraid of the word culture. In fact, it is considering quite seriously in some quarters having a culture of its own and calling it by that name. This makes it possible to consider as Americanization a recognition of the cultural forces in the various races as expressed in their literature and institutions. There is a growing appreciation of the fraternal and religious forces in the lives of the various races and their indispensable value in race fusion. In the old world, the cultural life of a race is so inextricably associated with their religious life that its first vital contact with American cultural life would seem to proceed along the lines of religious and fraternal development.
Frances Kellor
