![When I was born 20.6. [18]87, I was influenced by Picasso to cry. When I could walk and speak I still stood under Picasso's influence and said to my mother: 'Tom' or 'Happening', meaning the entrances of the canal under the street. My lyrical time was when I lived in the Violet Street. I never saw a violet. That was my influence by Matisse because when he painted rose I did not paint violet. As a boy of ten I stood under Mondrian's influence and built little houses with little bricks. Afterwards I stood under the influence of the Surrealists... I never stood under the influence of Dadaism because whereas the Dadaist created Spiegel-dadaismus (Mirror-Dada) on the Zurich Lake, I created MERZ on the Leine-river, under the influence of Rembrandt. Time went on, and when Hans Arp made concrete Art, I stayed Abstract. Now I do concrete Art, and Marcel Duchamp went over to the Surrealists.... and at all I have much fun about Art. (Kurt Schwitters)](https://cdn.quotesdtb.com/img/quotes_images_webp/65/kurt-schwitters-abstract-art-448565.webp)
When I was born 20.6. [18]87, I was influenced by Picasso to cry. When I could walk and speak I still stood under Picasso's influence and said to my mother: 'Tom' or 'Happening', meaning the entrances of the canal under the street. My lyrical time was when I lived in the Violet Street. I never saw a violet. That was my influence by Matisse because when he painted rose I did not paint violet. As a boy of ten I stood under Mondrian's influence and built little houses with little bricks. Afterwards I stood under the influence of the Surrealists... I never stood under the influence of Dadaism because whereas the Dadaist created Spiegel-dadaismus (Mirror-Dada) on the Zurich Lake, I created MERZ on the Leine-river, under the influence of Rembrandt. Time went on, and when Hans Arp made concrete Art, I stayed Abstract. Now I do concrete Art, and Marcel Duchamp went over to the Surrealists.... and at all I have much fun about Art.
Kurt SchwittersRelated topics
abstract art born boy built canal concrete cry fun went lake meaning mother now paint rose saw speak stand street ten under violet walk arp marcel Duchamp Matisse Hans Picasso RembrandtRelated quotes
We played a gig in the Swiss Alps at a snowboarding convention. Red Bull-this energy sports-fuel drink-sponsored the whole thing. It has some ingredient believed to be bull-testicle extract. We went way off our tour route, had to take two planes and missed a night's sleep. We got up there and there's no snow-it's all mud. You couldn't walk. You'd step and then be up to your knee in mud. So you had several thousand disgruntled snowboarders tanked up to the max on bull-testicle extract. Of course, for some reason, these strapping brutes were made to wait out in the mid and the rain before coming into the tent for the show. When we get up to play, I see this forty-foot gap between us and the audience-they still managed to nail us with empty cans of Red Bull. After a few songs, I wasn't really playing my guitar, I was using it to bay cans back into the crowd of disgruntled sports enthusiasts. It felt like we were A Flock of Seagulls opening for Napalm Death.
Beck
So it was that I gave about 1949 my 'Lecture on Nothing' at the Artists' Club on Eighth Street in New York City (started by Robert Motherwell), which predated the popular one associated with Philip Pavia, Bill de Kooning, et al. ). This 'Lecture on Nothing' was written in the same rhythmic structure I employed at the time in my musical compositions (Sonatas and Interludes, Three Dances, etc.). One of the structural divisions was the repetition, some fourteen times, of a single page in which occurred the refrain, 'If anyone is sleepy let him go to sleep.' Jeanne Reynal, I remember, stood up part way through, screamed, and then said, while I continued speaking, 'John, I dearly love you, but I can't bear another minute.' She then walked out. Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen.
John Cage
Reading conventional notions of class struggle and anti-colonialism into bin Laden, the Taliban, and radical Islam is not just solipsistic. It is nonsense. If poverty and destitution, colonialism and capitalism are animating radical Islam, explain this: In March, the Taliban went to the Afghan desert where stood great monuments of human culture, two massive Buddhas carved out of a cliff. At first, Taliban soldiers tried artillery. The 1,500-year-old masterpieces proved too hardy. The Taliban had to resort to dynamite. They blew the statues to bits, then slaughtered 100 cows in atonement-for having taken so long to finish the job. Buddhism is hardly a representative of the West. It is hardly a cause of poverty and destitution. It is hardly a symbol of colonialism. No. The statues represented two things: an alternative faith and a great work of civilization. To the Taliban, the presence of both was intolerable.
Charles Krauthammer
Of our studies it is impossible to speak, since they held so slight a connection with anything of the world as living men conceive it. They were of that vaster and more appalling universe of dim entity and consciousness which lies deeper than matter, time, and space, and whose existence we suspect only in certain forms of sleep - those rare dreams beyond dreams which come never to common men, and but once or twice in the lifetime of imaginative men. The cosmos of our waking knowledge, born from such an universe as a bubble is born from the pipe of a jester, touches it only as such a bubble may touch its sardonic source when sucked back by the jester's whim. Men of learning suspect it little and ignore it mostly. Wise men have interpreted dreams, and the gods have laughed. One man with Oriental eyes has said that all time and space are relative, and men have laughed. But even that man with Oriental eyes has done no more than suspect....
H. P. Lovecraft
The suggestion that words are symbols for things, actions, qualities, relationships, et cetera, is naive, a gross simplification. Words are slippery customers. The full meaning of a word does not appear until it is placed in its context, and the context may serve an extremely subtle function -- as with puns, or double entendre. And even then the "meaning" will depend upon the listener, upon the speaker, upon their entire experience of language, upon their knowledge of one another, and upon the whole situation. Words do not "mean things" in a one-to-one relation like a code. Words, too, are empirical signs, not copies or models of anything; truly, onomatopoeia and gestures frequently seem to possess resemblance, but this resemblance does not bear too close examination. A cockerel may seem to say cook-a-doodle-do to an Englishman, but a German thinks it says kikeriki, and a Japanese kokke-kekko. Each can paint only with the phonetic sound of his own language.
Colin Cherry