Works Quotes - page 81
I would write, edit, rewrite and re-edit the text. However, I still felt that I was miles away from the ideal version of the story born and still alive in me. I ran towards it with all my might and when I thought I had finally captured it, it would slip away from me and disappear. It looked more like an everlasting vision of an oasis in the mind of the thirsty pilgrim wandering in the desert. Finally, I realised I would never be able to record it in a way that makes myself completely happy with it. I had felt this earlier, but did not want to acknowledge the feeling, I did not want to feel defeated. Now I know - unless the writer suffers, goes through difficulties and finally, feels beaten, like me; if he writes the way he himself wants to write, if he wins over the story, he is dead and finished, as a writer... So, in a nutshell, the writer faces the possibility to die after finishing each of his/her works. However, it is better not to use that possibility until the end...
Miho Mosulishvili
Mental states such as loneliness, compulsion, anguish, attachment, pain, and faith are not just "all in the head" but in the brain as well. Brain, mind, and body are a continuum. Our thoughts-intention, fear, images, suggestion, expectation- alter the brain's chemistry. And it works both ways; thoughts can be altered by changing the brain's chemistry with drugs, nutrients, oxygen. The brain is hopelessly complex.
Marilyn Ferguson
The argument of the social theory developed in this book [works] out the idea that each imaginative and institutional form of society represents an attempt to freeze, into a particular mold, the more fluid experiences of practical and passionate relationship characterizing the immediate, relatively unreflective, uninterpreted, and undisciplined life of personality. The dogmas and arrangements inform this life and alter it. But they do not completely overcome its recalcitrance or determine its inner nature. The visionary impulse in politics draws much of its persuasive force from the appeal to this defiant experience.
Roberto Mangabeira Unger
The imagination works by a principle of sympathy with the suppressed and subversive elements in experience. It sees the residues, memories, and reports of past or faraway social worlds and neglected or obscure perceptions as the main stuff with which we remake our contexts. It explains the operation of a social order by representing what the remaking of this order would require. It generalizes our ideas by tracing a penumbra of remembered or intimated possibility around present or past settlements, and it then subhjects this enlarged sense of possibility to the tests of further comparison and practice. By all these means it undermines the identification of the actual with the possible.
Roberto Mangabeira Unger
With the opportunity to observe the problems of the President at closer range, I have come to understand the importance of an intimate, easy relationship, born of friendship and mutual regard, between the President and the Chiefs. It is particularly important in the case of the Chairman, who works more closely with the President and Secretary of Defense than do the service chiefs. The Chairman should be a true believer in the foreign policy and military strategy of the administration he serves, or, at least, feel that he and his colleagues are assured an attentive hearing those matters for which the Joint Chiefs have a responsibility. These considerations have led me to conclude that an incoming President is well advised to change the Chiefs, not with one sweep of the new broom, but progressively as he gets a chance to know the senior officers qualified for consideration and to evaluate their compatibility with his ways of thinking and acting.
Maxwell D. Taylor
To understand society deeply is always to see the settled from the angle of the unsettled. The settled is the region or the moment where relationships become fixed and, through their fixity, take on a specious aura of necessity. The unsettled is the experience that discloses the perilous, uncertain, malleable quality of society. By seeing the settled unsettled or by looking toward the disturbances that take place in its vicinity, we begin to understand how the settled really works and what it really is.
Roberto Mangabeira Unger
It has been a continuing theme of this book that our commitment to any approach to the problems of existence (the overcoming of the world, the humanization of the world, and the struggle with the world first among them) can enjoy no definitive justification. Its demands always exceed, immeasurably, its grounds for making them. It says, "Follow me.” It can never give a conclusive reason to do so. All that it can do is to make an incomplete argument and a defeasible appeal. It cannot escape the circularity in all our large-scale transformative projects: for better or worse, each of them is a partly self-fulfilling prophecy. If it is embraced and it works, it remakes part of experience in its image.
Roberto Mangabeira Unger
![But I am no longer trying to formulate a stylised version of anxiety such as we find in the Laocoon group and in so many other sculptures of the Silver Age of antiquity. I feel that these works are always a bit too melodramatic. If you really want to find the sources of my present style [1958] in antiquity, I must confess that you will find them in the remains of the life of the past rather than in those of its art. The fossilized corpses that have been unearthed in Pompeii.... if the whole earth is destroyed in our atomic age, I feel that the human forms which may survive as mere fossils will have become sculptures similar to mine. (Marino Marini)](https://cdn.quotesdtb.com/img/quotes_images_webp/02/marino-marini-age-antiquity-956502.webp)
As paint I use lightfast printing ink, usually pure, but also mixed. Mixing is not difficult at all, it but can happen in very different ways. Secret means are not applied, but I can not work on them, except in solitude (at sunshine). No one works in this way. I believe that no one else can obtain the same color effects, except after a lot of practice and experience. Sometimes one print goes up to 50 times under the printing-press. [I make] Never more than one piece per day.
Hendrik Werkman
One day, when all our people were gone out to their works as usual, and only I and my dear sister were left to mind the house, two men and a woman got over our walls, and in a moment seized us both, and, without giving us time to cry out, or make resistance, they stopped our mouths, and ran off with us into the nearest wood.
Olaudah Equiano
What I try to appeal through my works is simple. The opinion is just a simple message that follows: "Love all the creatures! Love everything that has life"! I have been trying to express this message in every one of my works. Though it has taken the different forms like "the presentation of nature," "the blessing of life," "the suspicion of too much science-oriented civilisation," anti-war and so on.
Osamu Tezuka
The word `Sanskrit' means "prepared, pure, refined or prefect”. It was not for nothing that it was called the `devavani' (language of the Gods). It has an outstanding place in our culture and indeed was recognized as a language of rare sublimity by the whole world. Sanskrit was the language of our philosophers, our scientists, our mathematicians, our poets and playwrights, our grammarians, our jurists, etc. In grammar, Panini and Patanjali (authors of Ashtadhyayi and the Mahabhashya) have no equals in the world; in astronomy and mathematics the works of Aryabhata, Brahmagupta and Bhaskara opened up new frontiers for mankind, as did the works of Charaka and Sushruta in medicine.
Pāṇini
But a sculpture which sets out to achieve the same ends demands an almost unbelievable effort of concentration. Practically none of the episodes or moments of such a legend, [of Prometheus ] really lends itself to sculpture, and the sculptors of the nineteenth century were often quite careless or foolish in the choice of the moment which they set out to represent. Their works could thus become cluttered with all sorts of narrative details which detract from the monumental quality of the whole... That's why, in my 'Prometheus', I represent the fire as an integral part of the presence or appearance of the hero; he stands there before us in all his awe-inspiring grandeur, a human figure that seemed in the eyes of the men who first saw him to be actually consumed by the fire that he was bearing.
Ossip Zadkine
A structure-less painting is, to me, a painting that does not matter. Structure mirrors your degree of responsibility toward the work. You can't just let it float around in pretty colors. It needs a kind of core. But this is an inner structure. It does correspond to being a geologist - the metaphor may be trite, but it works. Like when you see these breathtaking mountains in strange colors in eastern Greenland. As a geologist, you want to know what exactly they're doing.
Per Kirkeby
But through the 1990's I developed signatures, somewhat radical and unmistakably mine. Francis Picabia remains my hero. The more you dive into his work, the wilder it becomes. He painted the skewed Cubist paintings that we all know. Then came the kitsch works. And he ended up doing these strange, abstract works that are impossible to grasp. Whenever you think you've got him, he's always moved along. That's what I aspire to do.
Per Kirkeby
At my age [74], you realize that some things have caught you. You can see that as a positive or a negative. On the negative side: Are you in a routine, unconsciously adapting to things that work well?.... The black Masonite [board, Kirkeby used to underlayment for his painting].... by not painting them black and instead making them beautiful, I've wondered if I have sold that particular idea. Edvard Munch, as he got older, sat at his home and painted like a wild man. Those works were not very popular and have come to be considered the 'wrong' Munch. But that's how you need to be when you get old. I call it the arrogance of age: You don't need recognition. You just don't care.
Per Kirkeby
