I want to warn against being seduced by technology. I don't think that the really interesting materials to use are those miracle plastics and miracle alloys or fiber composites or anything like that. The real miracle materials are the ones which have been abandoned by modern technology. Beautiful land and things like that. I am utterly disenchanted with technology, because the super uses of technology are the ones being used in Vietnam and that, to me, is not beautiful... I don't say no to the new technology, I don't say no to lasers, I don't say no to advanced plastics. The trouble is, people over and over again use new materials, new materials for old purposes. I'm not interested in that. I think by using old materials you've got to find new purposes. In a way, what is abandoned is more of a challenge than what has just been discovered.
Carl AndreRelated topics
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The internet has stopped people from going out and being with each other, creating stuff. Instead they sit at home and make their own records, which is sometimes OK but it doesn't bode well for long-term artistic vision. It's just a means to an end. We're talking about things that are going to change the world and change the way people listen to music and that's not going to happen with people blogging on the internet. I mean, get out there, communicate. Hopefully the next movement in music will tear down the internet. Let's get out in the streets and march and protest instead of sitting at home and blogging. I do think it would be an incredible experiment to shut down the whole internet for five years and see what sort of art is produced over that span. There's too much technology available. I'm sure, as far as music goes, it would be much more interesting than it is today.
Elton John
Before, when I was covering the war in Vietnam and Cambodia, we used to have what I call the three Ss. You would shoot a story, you would script a story, which is to write it and then ship the story. And if you were in Cambodia you'd go to the airport and try to find a pigeon to carry it out for you. Someone who was leaving Cambodia to go to either Bangkok or Saigon or Hong Kong because there wasn't the satellite technology. There was no uplinks then. Today, the second major change is also in personnel. Today you have so much satellite coverage you can report live why from a battlefield. Before you were often there just by yourself. Now you're likely to be with 20 other reporters. I just think there's more people out there covering the same story and covering it in a very different way because of the technological advances.
Ed Bradley
I used to be a hide-bound Tory simply for traditional and antiquarian reasons-and because I had never done any real thinking on civics and industry and the future. The depression-and its concomitant publicisation of industrial, financial, and governmental problems-jolted me out of my lethargy and led me to reëxamine the facts of history in the light of unsentimental scientific analysis; and it was not long before I realised what an ass I had been. The liberals at whom I used to laugh were the ones who were right-for they were living in the present while I had been living in the past. They had been using science while I had been using romantic antiquarianism. At last I began to recognise something of the way in which capitalism works-always piling up concentrated wealth and impoverishing the bulk of the population until the strain becomes so intolerable as to force artificial reform.
H. P. Lovecraft
We now come to a third evil, namely, our very unsatisfactory, not to say ugly, furniture. It may be objected that it does not much matter what may be the exact curve of the legs of the chair a man sits upon, or of the table off which he eats his dinner, provided the said articles of furniture answer their respective uses; but, unfortunately, what we see continually before our eyes is likely, indeed is quite sure, to exercise a very great influence upon our taste, and therefore the question of beautiful versus ugly furniture does become a matter of very great importance. I might easily enlarge upon the enormities, inconveniences, and extravagances of our modern upholsterers, but that has been so fully done in a recent number of the "Cornhill Magazine" that I may well dispense with the task.
William Burges
Edwin Fischer was, on the concert platform, a short, leonine, resilient figure, whose every fiber seemed to vibrate with elemental musical power. Wildness and gentleness were never far from each other in his piano-playing, and demonic outbursts would magically give way to inner peace. It was as little trouble to him (as Alfred Polgar once said of an actor) to lose himself as to find himself.
His playing of slow movements was full of an unselfconsciousness beside which the music-making of others, famous names included, seemed academic or insincere. With Fischer, one was in more immediate contact with the music: there was no curtain before the soul when he communicated with the audience. One other musician, Furtwangler, conveyed to the same degree this sensation of music not being played, but rather happening by itself.
Alfred Brendel