Another theme of the Wake that helps in the understanding of the paradoxical shift from cliché to archetype is "pastimes are past times". The dominant technologies of one age become the games and pastimes of a later age. In the twentieth century the number of past times that are simultaneously available is so vast as to create cultural anarchy. When all the cultures of the world are simultaneously present, the work of the artist in the elucidation of form takes on new scope and new urgency. Most men are pushed into the artist role. The artist cannot dispense with the principle of doubleness and interplay since this kind of hendiadys-dialogue is essential to the very structure of consciousness, awareness, and autonomy.
Marshall McLuhanRelated topics
age anarchy archetype artist autonomy century cliche consciousness dispense dominant doubleness elucidation essential form interplay men kind later number past present principle role scope shift structure theme times twentieth understanding urgency vast wake work world awarenessRelated quotes
Writers after Coase have referred to the authority structure of the firm as a "visible hand" that works in combination with Smith's invisible hand. The everyday fact that employers exercise power over their employees - not news to most employees - had been a central theme in Marx's economics, but it was (and generally continues to be) overlooked by most neoclassical economists. Early in his studies Coase noted the similarity between the hierarchical organization of capitalist firms, with their reliance on command relations, and the then-existing system of centralized economic planning in the Communist countries, where production was carried out in accordance with orders from higher authorities and where market competition played little role.
Samuel Bowles
What we demand from the Soviet architect is that, as an artist and because of his perceptive intellect, he will fully comprehend and amplify the faintest ripple of developing energies much sooner than the masses - who tend to be shortsighted as far as their own growth is concerned - and that he will transform this energy into tangible architectural form.. .The club's role is to become a University of Culture. If one accepts the premise that private dwellings should strive to operate on the basis of the greatest possible austerity, then by contrast, public dwellings should provide the maximum of available luxury accessible to all. The term 'reconstruction' is therefore not applicable to this case, since there is no building precedent in the past.
El Lissitsky
Art at the moment is thrilling. The work of the artist today springs from innate impulses towards life, towards growth - impulses whose rhythms and structures have to do with the power and insistence of life. [...] In the past, when sculpture was based on the human figure, we knew this structure well. But today we are concerned with structures in an infinitely wider sense, in a universal sense. Our thoughts can either lead us to life and continuity or [...] the way to annihilation. That is why it is so important that we find our complete sense of continuity backwards and forwards in this new world of forms and values. I see the present development in art as something opposed to any materialistic, anti-human or mechanistic direction of mind.
Barbara Hepworth
A later generation could have explained the miracle to Sir Frank - though explaining in terms he would not have understood. Though he knew well enough the theory of family traits and likenesses, it would have been impossible then to make him comprehend the intricacy of a chromosome which carries inside it - not merely the stereotypes of parental hair or temperament - but the secret knowledge of how to breathe, how to work the muscles to move the bones, how to grow, how to remember, how to commence the processes of thought ... all the infinite number of secret "how to's" that have to be passed on for life to stay above jelly level.
A freak chromosome in Sir Frank ensured he passed on, together with these usual secrets, the secret of his individual consciousness.
Brian Aldiss
In my search for these values I like to work both realistically and abstractly. In my drawing and painting I turn from one to the other as a necessity or impulse and not because of a preconceived design of action. When drawing what I see I am usually most conscious of the underlying principle of abstract form in human beings and their relationship one to the other. In making my abstract drawings I am most often aware of those human values which dominate the structure and meaning of abstract forms. Sculpture is the fusion of these two attitudes and I like to be free as to the degree of abstraction and realism in carving. The dominant feeling will always be the love of humanity and nature; and the love of sculpture for itself.
Barbara Hepworth
