Illusion, dance, mime, even magic - the Tour of Life, as it was called, had the lot. I shan't forget the way those Pink Floyd-like whale sounds that open The Kick Inside album heralded Kate's entry to the stage as waves were projected on huge screens and her band launched into Moving. For a split second, the audience thought Kate was lip-synching because there was no microphone, but in pre-dating Madonna by a couple of decades, she was wearing a headset to allow free movement around the stage. Every song from that first album was performed before the switch to stuff from follow-up Lionheart, virtually every number warranting a change of costume and stage set. ... The entire show was pure theatre.
Kate BushRelated topics
album audience band change costume couple dance entire entry free illusion inside kate kick life madonna magic microphone mime moving movement number open pink pure second set show song split stage stuff switch theatre thought tour warranting way wearing whale follow-up headset lionheart lip-synchingRelated quotes
An essential distinction exists between two stages in the process of advancing our knowledge of the laws of physical phenomena; the first stage consists in observing the relations of phenomena, whether of such as occur in the ordinary course of nature, or of such as are artificially produced in experimental investigations, and in expressing the relations so observed by propositions called formal laws. The second stage consists in reducing the formal laws of an entire class of phenomena to the form of a science; that is to say, in discovering the most simple system of principles, from which all the formal laws of the class of phenomena can be deduced as consequences.
William John Macquorn Rankine
The Word of God can take care of itself, and will do so if we preach it, and cease defending it. See you that lion. They have caged him for his preservation; shut him up behind iron bars to secure him from his foes! See how a band of armed men have gathered together to protect the lion. What a clatter they make with their swords and spears! These mighty men are intent upon defending a lion. O fools, and slow of heart! Open that door! Let the lord of the forest come forth free. Who will dare to encounter him? What does he want with your guardian care? Let the pure gospel go forth in all its lion-like majesty, and it will soon clear its own way and ease itself of its adversaries.
Charles Spurgeon
Personally, I do not need a movement. What was given to me, I take for granted. Of all movements, I like Cubism most. It had that wonderful unsure atmosphere of reflection - a poetic frame where something could be possible, where an artist could practise [sic] his intuition. It didn't want to get rid of what went before. Instead it added something to it. The parts that I can appreciate in other [art] movements came out of Cubism. Cubism became a movement, it didn't set out to be one. It has force in it, but it was no 'force-movement.' And then there is that one-man movement, Marcel Duchamp - for me a truly modern movement because it implies that each artist can do what he thinks he ought to - a movement for each person and open for everybody.
Willem de Kooning
When we met in Berlin [1910], I arranged with Heckel and Kirchner that the three of us would go and work together on the lakes of Moritzburg near Dresden. We had long been familiar with the region, and we knew that we would have the opportunity tp paint nudes in the open air without interference... We had to find two or three people who were not professional models and would therefore pose for us without falling into studio routines.... we artists set out early every morning, laden with our equipment, followed by the models with bags full of good things toe at and drink. We lived in complete harmony, we worked and went swimming.... each of us [three] executed a great number of paintings and drawings.
Max Pechstein
Similarly a work of art vanishes from sight for a beholder who seeks in it nothing but the moving fate of John and Mary or Tristan and Isolde and adjusts his vision to this. Tristan's sorrows are sorrows and can evoke compassion only in so far as they are taken as real. But an object of art is artistic only in so far as it is not real. In order to enjoy Titian's portrait of Charles the Fifth on horseback we must forget that this is Charles the Fifth in person and see instead a portrait - that is, an image, a fiction. The portrayed person and his portrait are two entirely different things; we are interested in either one or the other. In the first case we "live" with Charles the Fifth, in the second we look at an object of art.
José Ortega y Gasset
