Why should not I call my works 'symphonies', 'arrangements', 'harmonies', and 'nocturnes'?... The vast majority of English folk cannot and will not consider a picture as a picture, apart from any story which it may be supposed to tell. My picture of 'Harmony in Grey and Gold' is an illustration of my meaning – as snow scene with a single black figure and lighted tavern. I care nothing for the past, present, or future of the black figure, placed there because the black was wanted at that spot. All that I know is that my combination of grey and gold is the basis of the picture, Now this is precisely what my friends cannot grasp.
James McNeill WhistlerRelated topics
apart black call care english folk future gold grasp grey harmony illustration meaning nothing now past picture present scene should single snow spot story tavern tell vast Friends worksRelated quotes
The poor Negro always remembered himself as an ex-slave and used this as the basis of any dealings with the mainstream of American society. The middle class black man bases his whole existence on the hopeless hypothesis that no one is supposed to remember that for almost three hundred years there was slavery in America, that the white man was a master, the black man a slave. This knowledge, however, is at the root of the legitimate black culture of this country. It is this knowledge, with its attendant muses of self-division, self-hatred, stoicism, and finally quixotic optimism, that informs the most meaningful of Afro-American music.
Amiri Baraka
Present excitement will at all times magnify present dangers, but true philosophy must teach us that none more threatening than the past can remain to be overcome; and we ought (for we have just reason) to entertain an abiding confidence in the stability of our institutions and an entire conviction that if administered in the true form, character, and spirit in which they were established they are abundantly adequate to preserve to us and our children the rich blessings already derived from them, to make our beloved land for a thousand generations that chosen spot where happiness springs from a perfect equality of political rights.
Martin Van Buren
It's in the action scenes that things fall apart. Consider the scene where Spider-Man is given a cruel choice between saving Mary Jane or a cable car full of school kids. He tries to save both, so that everyone dangles from webbing that seems about to pull loose. The visuals here could have given an impression of the enormous weights and tensions involved, but instead the scene seems more like a bloodless storyboard of the idea. In other CGI scenes, Spidey swoops from great heights to street level and soars back up among the skyscrapers again with such dizzying speed that it seems less like a stunt than like a fast-forward version of a stunt.
Roger Ebert
The primary meaning of the words "modern," "modernity," with which recent times have baptised themselves, brings out very sharply that feeling of "the height of time" which I am at present analysing. "Modern" is what is "in the fashion, "that is to say, the new fashion or modification which has arisen over against the old traditional fashions used in the past. The word "modern" then expresses a consciousness of a new life, superior to the old one, and at the same time an imperative call to be at the height of one's time. For the "modern" man, not to be "modern" means to fall below the historic level.
José Ortega y Gasset
2) "the a of différance also recalls that spacing is temporization, the detour and postponement by means of which intuition, perception, consummation - in a word, the relationship to the present, the reference to a present reality, to a being - are always deferred. Deferred by virtue of the very principle of difference which holds that an element functions and signifies, takes on or conveys meaning, only by referring to another past or future element in an economy of traces. This economic aspect of différance, which brings into play a certain not conscious calculation in a field of forces, is inseparable from the more narrowly semiotic aspect of différance.
Jacques Derrida