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“Truth is sacred till it's revealed; post it becomes an impression”
Truth
Impression
Sacred
Truth Of Life
Warrior Quotes
Abhimanyu
How Not to Get Shot: And Other Advice From White People
“That's the essence of being profiled: judging someone on first impressions. So again, you are being asked to do better than the cop who pulled you over for the "broken taillight". Don't you go around profiling all cops!”
Racial Profiling
Black Lives Matter
Police Brutality
Police State
Systemic Racism
Profiling
Black Lives
Notre-Dame de París
“Vous avez été enfant, lecteur, et vous êtes peut-être assez heureux pour l'être encore. Il n'est pas que vous n'ayez plus d'une fois (et pour mon compte j'y ai passé des journées entières, les mieux employées de ma vie) suivi de broussaille en broussaille, au bord d'une eau vive, par un jour de soleil, quelque belle demoiselle verte ou bleue, brisant son vol à angles brusques et baisant le bout de toutes les branches. Vous vous rappelez avec quelle curiosité amoureuse votre pensée et votre regard s'attachaient à ce petit tourbillon sifflant et bourdonnant, d'ailes de pourpre et d'azur, au milieu duquel flottait une forme insaisissable voilée par la rapidité même de son mouvement. L'être aérien qui se dessinait confusément à travers ce frémissement d'ailes vous paraissait chimérique, imaginaire, impossible à toucher, impossible à voir. Mais lorsque enfin la demoiselle se reposait à la pointe d'un roseau et que vous pouviez examiner, en retenant votre souffle, les longues ailes de gaze, la longue robe d'émail, les deux globes de cristal, quel étonnement n'éprouviez-vous pas et quelle peur de voir de nouveau la forme s'en aller en ombre et l'être en chimère ! Rappelez-vous ces impressions, et vous vous rendrez aisément compte de ce que ressentait Gringoire en contemplant sous sa forme visible et palpable cette Esmeralda qu'il n'avait entrevue jusque-là qu'à travers un tourbillon de danse, de chant et de tumulte.”
Childhood
Dragonfly
Esmeralda
Enfance
Notre Dame De Paris
Libellule
The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age
“Picasso’s eclecticism signifies the deliberate destruction of the unity of the personality; his imitations are protests against the cult of originality; his deformation of reality, which is always clothing itself in new forms, in order the more forcibly to demonstrate their arbitrariness, is intended, above all, to confirm the thesis that ‘nature and art are two entirely dissimilar phenomena’. Picasso turns himself into a conjurer, a juggler, a parodist, out of opposition to the romantic with his ‘inner voice’, his ‘take it or leave it’, his self-esteem and self-worship. And he disavows not only romanticism, but even the Renaissance, which, with its concept of genius and its idea of the unity of work and style, anticipates romanticism to some extent. He represents a complete break with individualism and subjectivism, the absolute denial of art as the expression of an unmistakable personality. His works are notes and commentaries on reality; they make no claim to be regarded as a picture of a world and a totality, as a synthesis and epitome of existence. Picasso compromises the artistic means of expression by his indiscriminate use of the different artistic styles just as thoroughly and wilfully as do the surrealists by their renunciation of traditional forms.”
Picasso
Expressionism
Deformation
The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age
“Aesthetic culture implies a way of life marked by uselessness and superfluousness, that is to say, the embodiment of romantic resignation and passivity. But it outdoes romanticism; it not only renounces life for the sake of art, it seeks for the justification of life in art itself. It regards the world of art as the only real compensation for the disappointments of life, as the genuine realization and consummation of an existence that is intrinsically incomplete and inarticulate. But this not only means that life seems more beautiful and more conciliatory when clothed in art, but that, as Proust, the last great impressionist and aesthetic hedonist, thought, it only grows into significant reality in memory, vision and the aesthetic experience. We live our experiences with the greatest intensity not when we encounter men and things in reality—the ‘time’ and the present of these experiences are always ‘lost’—but when we ‘recover time’, when we are no longer the actors but the spectators of our life, when we create or enjoy works of art, in other words, when we remember. Here, in Proust, art takes possession of what Plato had denied it: ideas—the true remembrance of the essential forms of being.”
Time
Memory
Remember
Ideas
Proust
Aesthestic
The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age
“With these innovations, however, the succession of reductions employed by the impressionist method is by no means exhausted. The very colours which impressionism uses alter and distort those of our everyday experience. We think, for example, of a piece of ‘white’ paper as white in every lighting, despite the coloured reflexes which it shows in ordinary daylight. In other words: the ‘remembered colour’ which we associate with an object, and which is the result of long experience and habit, displaces the concrete impression gained from immediate perception; impressionism now goes back behind the remembered, theoretically established colour to the real sensation, which is, incidentally, in no sense a spontaneous act, but represents a supremely artificial and extremely complicated psychological process.”
Perception
Language
Psychoanalysis
Impressionism
Sense Data
The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age
“The most striking phenomenon connected with the progress of technology is the development of cultural centres into large cities in the modern sense; these form the soil in which the new art is rooted. Impressionism is an urban art, and not only because it discovers the landscape quality of the city and brings painting back from the country into the town, but because it sees the world through the eyes of the townsman and reacts to external impressions with the overstrained nerves of modern technical man. It is an urban style, because it describes the changeability, the nervous rhythm, the sudden, sharp but always ephemeral impressions of city life. And precisely as such, it implies an enormous expansion of sensual perception, a new sharpening of sensibility, a new irritability, and, with the Gothic and romanticism, it signifies one of the most important turning points in the history of Western art. In the dialectical process represented by the history of painting, the alternation of the static and the dynamic, of design and colour, abstract order and organic life, impressionism forms the climax of the development in which recognition is given to the dynamic and organic elements of experience and which completely dissolves the static world-view of the Middle Ages. A continuous line can be traced from the Gothic to impressionism comparable to the line leading from late medieval economy to high capitalism, and modern man, who regards his whole existence as a struggle and a competition, who translates all being into motion and change, for whom experience of the world increasingly becomes experience of time, is the product of this bilateral, but fundamentally uniform development.”
Impressionism
Dynamics
Modern Arts
The Shadow of Death
“Alone in my room, I don’t feel alone. It’s as if I have two shadows instead of one, and this second shadow doesn’t conform to my movements. It follows me, it gives the impression it will never leave me, but it does what it wants. I worry that in time I will do what it wants.”
Devils
Haunted
Shadows
Thirst
Alisa Perne
Christopher Pike
The Last Vampire
The Shadow Of Death
Mostly Harmless
“But the smell could just as easily have been coming from the old lady who was busy beating flies away from the pile of bodies. It was a hopeless task because each of the flies was about the size of a winged bottle top and all she had was a table tennis bat. Also she seemed half blind. Every now and then, by chance, her wild thrashing would connect with one of the flies with a richly satisfying thunk, and the fly would hurtle through the air and smack itself open against the rock face a few yards from the entrance to her cave.
She gave every impression, by her demeanour, that these were the
moments she lived for.”
Life
Humour
Doctor Who
Hitchhikers Guide To The Galaxy
Douglas Adams
Mostly Harmless
L'alternativa ambiente
“Il paesaggista-artista-gardiniere del giorno d'oggi, ecologista implicito, deve quindi dotarsi di due strumenti ineffabili: il non-recinto e il tempo dilatato.
Grazie a questi strumenti, dovrebbe essere in grado di seminare sul pianeta le sue azioni molteplici, atomizzate, piene di vite diffuse, e quindi di colori, alla maniera di un impressionista planetario la cui tela altro non sia che la pelle della Terra.”
Terra
Ecología
Giardiniere
Paesaggista
The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age
“The operetta was the product of a world of ‘laissez faire, laissez passer’,
that is, a world of economic, social and moral liberalism, a world in which everyone was able to do what he liked, so long as he abstained from questioning the system itself. This limitation meant, on the one hand, very wide, on the other, very narrow frontiers.
The same government that summoned Flaubert and Baudelaire to a court of law tolerated the most insolent social satire, the most disrespectful ridiculing of the authoritarian régime, the court, the army and the bureaucracy, in the works of Offenbach.
But it tolerated his frolics only because they were not or did not seem to be dangerous, because he confined himself to a public whose loyalty was beyond doubt and needed no other safety-valve, in order to be quite happy, than this apparently harmless banter.
The joke seems mischievous only to us; the contemporary public missed the sinister undertone which we can hear in the frantic rhythm of Offenbach’s galops and cancans. The entertainment was, however, not quite so harmless. The operetta demoralized people, not because it scoffed at everything ‘venerable’, not because its deriding of antiquity, of classical tragedy, of romantic opera was only criticism of society in disguise, but because it shattered the belief in authority without denying it in principle. The immorality of the operetta consisted in the thoughtless tolerance with which it conducted its criticism of the corrupt system of government and the depraved society of the time, in the appearance of harmlessness which it gave to the frivolity of the little prostitutes, the extravagant gallants and the lovable old ‘viveurs’. Its lukewarm, hesitant criticism merely encouraged corruption. One could, however, expect nothing else but an ambiguous attitude from artists who were successful, who loved success more than anything and whose success was bound up with the continuance of this indolent and pleasure-seeking society.”
Success
Morality
Operetta
Offenbach
The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age
“It is not the experience which leads him to the problem, but the problem which leads him to the experience. That is also Zola’s method and procedure. He begins a new novel as the German professor of the anecdote begins a new course of lectures, in order to obtain more exact information about a subject with which he is unfamiliar.”
Zola
The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age
“I spite of his scientific attitude he is a romantic, and indeed much more whole-heartedly so than the other less radical naturalists of his day. His one-sided, undialectical rationalization and schematization of reality is already boldly and ruthlesslyromantic. And the symbols to which he reduces motley, many-sided, contradictory life— the city, the machine, alcohol, prostitution, the department store, the markethall, the stock exchange, the theatre, etc.—are all the more the visions of a romantic systematizer, who sees allegories instead of concrete individual phenomena everywhere.”
Romanticism
Phenomenon
Zola
Love in the Afternoon
“Drowning in guilt and fear and desire, she tried to push his caressing hand away from her throat. His fingers delved into her hair with a grip just short of painful. His mouth was close to hers. He was surrounding her, all the strength and force and maleness of him, and she closed her eyes as her senses went quiet and dark in helpless waiting. "I'll make you tell me," she heard him mutter.
And then she was kissing her.
Somehow, Beatrix thought hazily, Christopher seemed to be under the impression she would find his kisses so objectionable that she would confess anything to make him desist. She couldn't think how he had come by such a notion. In fact, she couldn't really think at all.
His mouth moved over hers in supple, intimate angles, until he found some perfect alignment that made her weak all over. She reached around his neck to keep from dropping bonelessly to the floor. Gathering her closer into the hard support of his body, he explored her slowly, the tip of his tongue stroking, tasting.
Her body listed more heavily against his as her limbs became weighted with pleasure. She sensed the moment when his anger was eclipsed by passion, desire changing to white-hot need. Her fingers sank into his beautiful hair, the shorn locks heavy and vibrant, his scalp hot against her palms. With each inhalation, she drew in more of his fragrance, the trace of sandalwood on warm male skin.
His mouth slid from hers and dragged roughly along her throat, crossing sensitive places that made her writhe. Blindly turning her face, she rubbed her lips against his ear. He drew in a sharp breath and jerked his head back. His hand came to her jaw, clamping firmly.
"Tell me what you know," he said, his breath searing her lips. "Or I'll do worse than this. I'll take you here and now. Is that what you want?"
As a matter of fact
...”
Kissing
Passionate Kiss
Beatrix And Christopher
Sexual Desires
The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age
“The main thing is not to be deceived, that is, to lie and and simulate better than the others. All Stendhal's great novels revolve around the problem of hypocrisy, around the secret of how to deal with men and how to rule the world; they are all in the nature of text-book of political realism and courses of instruction in political amoralism. In his critique of Stendhal, Balzac already remarks that Chartreuse de Parme is a new Principe, which Machiavelli himself, if he had lived as an emigre in the Italy of nineteenth century, would not have been able to write any differently. Julien Sorel's Machiavellian motto, "Qui veut les fins veut les moyens," here acquires its classical formulation, as used repeatedly by Balzac himself, namely that one must accept the rules of the world's game, if one wants to count in the world and to take part in the play.”
Stendhal
Balzac
Machiavellianism
Nineteenth Century
Julien Sorel
Political Realism
Worth Any Price
“He finally understood Radnor's obsession.
Charlotte Howard was the most bewitching woman he had ever met. She radiated a remarkable force of will that somehow conveyed the impression of movement even when she stood still. Her body, her face, every part of her was a perfect amalgam of delicacy and strength.”
Force Of Will
Charlotte Howard
The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age
“Naturalism is not a homogeneous, clear-cut conception of art, always based on the same idea of nature, but changes with the times, concerned with a concrete task and confining its interpretation of life to particular phenomena. One professes a belief in naturalism, not because one consider a naturalistic representation more artistic a prior than a stylizing, but because one discovers a trait, a tendency in reality on which one would like to put more emphasis, which one would either to promote or fight against. Such a discovery is not itself the result of naturalistic observation, on the contrary, the interest in naturalism is the result of such a discovery. The 1830 generation begins its literary career with the recognition that the structure of society has completely changed; partly it accepts, partly opposes this change, but, in any case, it reacts to it in an extremely activism fashion and it naturalistic approach is derived from this activism. Naturalism is not aimed at reality as a whole, not at "nature" or "life" in general, but at social life in particular, that is, at that province of reality which has become specially important for this generation.”
Naturalism
Particularity
Social Tendency
The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age
“The most inexplicable paradox of the work of art is that it seems to exist for itself and yet not for itself; that it addresses itself to a concrete, historically and sociologically conditioned public, but seems, at the same time, to want to have no knowledge at all of a public.”
Art
Expectation
Reception
Fourth Wall
The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age
“All rights, all power, all ability, are suddenly expressed in terms of money. In order to be understood, everything has to be reduced to this common denominator. From this point of view, the whole previous history of capitalism seems no more than a mere prelude.”
July Monarchy
Money Economy
“Compared with the Celt, the Northman is heavy, reserved, a child of earth, yet
seemingly but half awakened. He cannot say what he feels save by vague
indication, in a long, roundabout fashion. He is deeply attached to the country
that surrounds him, its meadows and rivers fill him with a latent tenderness; but
his home sense has not emancipated itself into love. The feeling for nature rings
in muffled tones through his speech and through his myths, but he does not
burst into song of the loveliness of the world. Of his relations with women he
feels no need to speak, save when there is something of a practical nature to be
stated; only when it becomes tragic does the subject enter into his poetry. In
other words, his feelings are never revealed until they have brought about an
event; and they tell us nothing of themselves save by the weight and bitterness
they give to the conflicts that arise. Uneventfulness does not throw him back
upon his inner resources, and never opens up a flood of musings or lyricism – it
merely dulls him. The Celt meets life with open arms; ready for every
impression, he is loth to let anything fall dead before him. The Teuton is not
lacking in passionate feeling, but he cannot, he will not help himself so lavishly
to life.”
Nature
Honor
Northman
Wrong Planet - Searching for your Tribe
“Edie Sedgwick didn’t really fit in on this planet. She didn’t fit in anywhere. She’d spent years in mental institutions, she took far too many drugs and yet she was destined to make an impression on just about everyone who ever met her, so much so that they wanted to write about her, sing about her, put her photos on album covers and, of course, film her.”
Edie Sedgwick
Le temps des miracles
“Et, quand vous ne pouvez pas raconter, vous avez l’impression de mourir d’étouffement.”
Silence
Raconter
Étouffer
“I think there is more than enough literature of the criticizing sort...To read much of it seems to me seriously injurious: it accustoms men and women to formulate opinions instead of receiving deep impressions, and to receive deep impressions is the foundation of all true mental power.”
Mental Power
Deep Impressions
“The reason for breaking out an old Soviet military textbook is to show that Russia is still following Soviet ideas. At the same time, America does not seriously embark upon war preparations of its own. The American side does not place its key military industries under mountains, and does not teach its population the principles of nuclear civil defense (as the Russians do). Even more critical, the American people have never received any schooling on the Russian threat. With rare exception, American schools do not teach students about the enemies of America. This was not even done at the height of the Cold War. In fact, Marxists were busy infiltrating U.S. schools and universities during the 1970s and 1980s. American students were more likely to receive indoctrination closer to that given in communist countries than to receive any proper orientation about a communist threat to the United States. And so, there was never any similarity between Russian war preparations and American war preparations. This is a fact that ought to make a deep impression, as it dispels the usual propaganda about the all-powerful U.S. military-industrial-complex.”
Military Industrial Complex
Nuclear Civil Defense
War Preparations
Swords in the Mist
“The gods in Lankhmar (that is, the gods and candidates for divinity who dwell or camp, it may be said, in the Imperishable City, not the gods
of
Lankhmar—a very different and most secret and dire matter)… the gods
in
Lankhmar sometimes seem as if they must be as numberless as the grains of sand in the Great Eastern Desert. The vast majority of them began as men, or more strictly the memories of men who led ascetic, vision-haunted lives and died painful, messy deaths. One gets the impression that since the beginning of time an unending horde of their priests and apostles (or even the gods themselves, it makes little difference) have been crippling across that same desert, the Sinking Land, and the Great Salt Marsh to converge on Lankhmar's low, heavy-arched Marsh Gate—meanwhile suffering by the way various inevitable tortures, castrations, bindings and stonings, impalements, crucifixions, quarterings and so forth at the hands of eastern brigands and Mingol unbelievers who, one is tempted to think, were created solely for the purpose of seeing to the running of that cruel gauntlet.”
Gods
1959
Lean Times In Lankhmar
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