Course Quotes - page 98
We may observe, that, notwithstanding the dogmatical, imperious style of all superstition, the conviction of the religionists, in all ages, is more affected than real, and scarcely ever approaches, in any degree, to that solid belief and persuasion, which governs us in the common affairs of life. Men dare not avow, even to their own hearts, the doubts which they entertain on such subjects: They make a merit of implicit faith; and disguise to themselves their real infidelity, by the strongest asseverations and most positive bigotry. But nature is too hard for all their endeavours, and suffers not the obscure, glimmering light, afforded in those shadowy regions, to equal the strong impressions, made by common sense and by experience. The usual course of men's conduct belies their words, and shows, that their assent in these matters is some unaccountable operation of the mind between disbelief and conviction, but approaching much nearer to the former than to the latter.
David Hume
No, the parallels are between modernism, late modernism, and socialist realism, of course. That's two sides of one coin. Both came of this idea of aristocrats, of people in power, imposing the culture on the people. A totally inhuman art. Modern art, and Pollock is the best example, is totally inhuman. Huge pictures for museums--now we call them museums; in Stalin times they were called palaces, but basically the same thing--which we rarely see and rarely visit. The sheer size of this painting, it's a totally inhuman scale. And there it can be typified...
Alexander Melamid
I cannot speak for all, but I have talked to many artists who feel this way - we have lost even our belief that we are the minority that knows. We believed ten years ago, twenty years ago, that we knew the secret. Now we have lost this belief. We are a minority with no power and no belief, no faith. I feel myself, as an artist and as a citizen, just totally obsolete... Okay, it can be done this way or that way or this way, or in splashes or smoothly, but why? What the hell is it about? That's why we wanted to ask people. For us - from our point of view - it's a sincere thing to understand something, to change course. Because the way we live we cannot live anymore. I have never seen artists so desperate as they are now, in this society.
Alexander Melamid
A man who would be a success the world must first of all be a judge of moods, for untimely speeches will offend the ears and hurt the feelings of others, and so fail in their purpose. He has to beware of such occasions.
But falling sick and bearing children and dying - these things take no account of moods. They do not cease because they are untimely. The shifting changes of birth, life, sickness, and death, the real great matters - these are like the surging flow of a fierce torrent, which delays not for an instant but straightway pursues its course.
And so, for both priest and layman, there must be no talk of moods in things they must needs accomplish. They must be free from this care and that, they must not let their feet linger.
Yoshida Kenkō
For I find that even those that have sought knowledge for itself and not for benefit, or ostentation, or any practical enablement in the course of their life, have nevertheless propounded to themselves a wrong mark, namely, satisfaction, which men call truth, and not operation. For as in the courts and services of princes and states, it is a much easier matter to give satisfaction than to do the business; so in the inquiring of causes and reasons it is much easier to find out such causes as will satisfy the mind of man, and quiet objections, than such causes as will direct him and give him light to new experiences and inventions.
Francis Bacon
Of course it's tempting to close one's eyes to history, and instead speculate about the roots of war in some possible animal instinct: as if, like the tiger, we still had to kill to live, or, like the robin redbreast, to defend a nesting territory. But war, organized war, is not a human instinct. It is a highly planned and cooperative form of theft. And that form of theft began 10,000 years ago when the harvesters of wheat accumulated a surplus and the nomads rose out of the desert to rob them of what they themselves could not provide. The evidence for that, we saw, in the walled city of Jericho and its prehistoric tower... That is the beginning of war.
Jacob Bronowski
But I've noticed something with other artists who do use the whole range of forms of colours and black - in Albers, for instance, who experiments with yellow, red, blue, the whole scale. Of course I love his colour paintings, but when I see a black-and-white such as 'The Homage to a Black and White Square' [ Josef Albers painted more versions], I like that best, you know. I think it has something to do with deciding just exactly what you really like best. There is always that wonderful element of doubt. I like the black painters really, even if they did work in color.... Velasquez.... also Tintoretto, and Rembrandt... Goya..
Franz Kline