Bernstein Art Quotes

Music, of all the arts, stands in a special region, unlit by any star but its own, and utterly without meaning ... except its own.

Any great art work … revives and readapts time and space, and the measure of its success is the extent to which it makes you an inhabitant of that world - the extent to which it invites you in and lets you breathe its strange, special air.

The point is, art never stopped a war and never got anybody a job. That was never its function. Art cannot change events. But it can change people. It can affect people so that they are changed... because people are changed by art – enriched, ennobled, encouraged – they then act in a way that may affect the course of events... by the way they vote, they behave, the way they think.

NO MUSE IS GOOD MUSE To be an Artist you need talent, as well as a wife who washes the socks and the children, and returns phone calls and library books and types. In other words, the reason there are so many more Men Geniuses than Women Geniuses is not Genius. It is because Hemingway never joined the P.T.A. And Arthur Rubinstein ignored Halloween. Do you think Portnoy's creator sits through children's theater matinees--on Saturdays? Or that Norman Mailer faced 'driver's ed' failure, chicken pox or chipped teeth? Fitzgerald's night was so tender because the fender his teen-ager dented happened when Papa was at a story conference. Since Picasso does the painting, Mrs. Picasso did the toilet training. And if Saul Bellow, National Book Award winner, invited thirty-three for Thanksgiving Day dinner, I'll bet he had help. I'm sure Henry Moore was never a Cub Scout leader, and Leonard Bernstein never instructed a tricycler On becoming a bicycler just before he conducted. Tell me again my anatomy is not necessarily my destiny, tell me my hang-up is a personal and not a universal quandary, and I'll tell you no muse is a good muse unless she also helps with the laundry.

Illusory universality is the universality of the art of the culture industry, it is the universality of the homogeneous same, an art which no longer even promises happiness but only provides easy amusement as relief from labour.

A work of art does not answer questions, it provokes them, and its essential meaning is in the tension between the contradictory answers.

Georgia O'Keeffe wrote, "I long ago came to the conclusion that even if I could put down accurately the thing I saw and enjoyed, it would not give the observer the kind of feeling it gave me. I had to create an equivalent for what I felt about what I was looking at ― not copy it." Thus the images of art are no more a direct reflection of the feelings, concepts, and sensations from which they arose than are a scientist's formulas direct expressions of his thoughts. All public languages are forms of translation.

As William Bernstein describes in ‘A Splendid Exchange’, ‘The Arabs, invigorated by their conquests, experienced a cultural renaissance that extended to many fields; the era’s greatest literature, art, mathematics, and astronomy was not found in Rome, Constantinople, or Paris, but in Damascus, Baghdad and Cordova.

Athens, while remaining nominally independent, no longer commanded its lifelines or its fate. Just as it had invented many Western institutions and intellectual and artistic endeavors, so did it pioneer a less glorious tradition. In the centuries following the Peloponnesian war, Athens became the first in a long line of senescent Western empires to suffer the ignominious transformation from world power to open-air theme park, famous only for its arts, its architecture, its schools, and its past.

While the universality of the creative process has been noticed, it has not been noticed universally. Not enough people recognize the preverbal, pre-mathematical elements of the creative process. Not enough recognize the cross-disciplinary nature of intuitive tools for thinking. Such a myopic view of cognition is shared not only by philosophers and psychologists but, in consequence, by educators, too. Just look at how the curriculum, at every educational level from kindergarten to graduate school, is divided into disciplines defined by products rather than processes. From the outset, students are given separate classes in literature, in mathematics, in science, in history, in music, in art, as if each of these disciplines were distinct and exclusive. Despite the current lip service paid to “integrating the curriculum,” truly interdisciplinary courses are rare, and transdisciplinary curricula that span the breadth of human knowledge are almost unknown. Moreover, at the level of creative process, where it really counts, the intuitive tools for thinking that tie one discipline to another are entirely ignored. Mathematicians are supposed to think only “in mathematics,” writers only “in words,” musicians only “in notes,” and so forth. Our schools and universities insist on cooking with only half the necessary ingredients. By half-understanding the nature of thinking, teachers only half-understand how to teach, and students only half-understand how to learn.

We have commoditized wellness & creativity, and so gay men are up against these much larger contexts that aren't particularly conducive to the strongest, healthiest, most holistic approaches. Access to basic healthcare, and a healthcare system that is not homophobic and that is responsive to the needs of gay men, would radically change the pressures and therefore the opoprtunities for those of us who work primarily within the HIV/AIDS sector of healthcare, whether in research, programming and cultural production, or advocacy. Similarly with the arts: if we had sufficient and adequate funding for community-based arts programming--of all kinds, not just related to gay men and HIV--then it wouldn't seem so shocking and misappropriated to allocate some of those funds for gay men to tell their stories. So it's in this larger, structural context that we gt forced into very painful conversations about prioritizing of funding, or what's most important, and it's always a reductive conversation because of limited resources. --Patrick "Pato" Hebert

NO MUSE IS GOOD MUSE -by Rochelle Distelheim To be an Artist you need talent, as well as a wife who washes the socks and the children, and returns phone calls and library books and types. In other words, the reason there are so many more Men Geniuses than Women Geniuses is not Genius. It is because Hemingway never joined the P.T.A. And Arthur Rubinstein ignored Halloween. Do you think Portnoy's creator sits through children's theater matinees--on Saturdays? Or that Norman Mailer faced 'driver's ed' failure, chicken pox or chipped teeth? Fitzgerald's night was so tender because the fender his teen-ager dented happened when Papa was at a story conference. Since Picasso does the painting, Mrs. Picasso did the toilet training. And if Saul Bellow, National Book Award winner, invited thirty-three for Thanksgiving Day dinner, I'll bet he had help. I'm sure Henry Moore was never a Cub Scout leader, and Leonard Bernstein never instructed a tricycler On becoming a bicycler just before he conducted. Tell me again my anatomy is not necessarily my destiny, tell me my hang-up is a personal and not a universal quandary, and I'll tell you no muse is a good muse unless she also helps with the laundry. -Rochelle Distelheim ===============================

We are now face to face with the truly Ultimate Ambiguity which is the human spirit. This is the most fascinating ambiguity of all: that as each of us grows up, the mark of our maturity is that we accept our mortality; and yet we persist in our search for immortality. We may believe it's all transient, even that it's all over; yet we believe a future. We believe. We emerge from a cinema after three hours of the most abject degeneracy in a film such as ''La Dolce Vita,'' and we emerge on wings, from the sheer creativity of it; we can fly on, to a future. And the same is true after witnessing the hopelessness of ''Godot'' in the theater, or after the aggressive violence of ''The Rite of Spring'' in the concert hall. Or even after listening to the bittersweet young cynicism of an album called ''Revolver,'' we have wings to fly on.

Every once in a while during the preparation of these lectures, I find myself asking — and others asking me — what's the relevance of all this musico-linguistics? Can it lead us to an answer of Charles Ives' Unanswered Question — whither music? — and even if it eventually can, does it matter? The world totters, governments crumble, and we are poring over musical phonology, and now syntax. Isn't it a flagrant case of elitism? Well, in a way it is; certainly not elitism of class — economic, social, or ethnic — but of curiosity, that special, inquiring quality of the intelligence. And it was ever thus. But these days, the search for meaning-through-beauty and vice versa becomes even more important as each day mediocrity and art-mongering increasingly uglify our lives; and the day when this search for John Keats' truth-beauty ideal becomes irrelevant, then we can all shut up and go back to our caves. Meanwhile, to use that unfortunate word again, it is thoroughly relevant; and I as a musician feel that there has to be a way of speaking about music with intelligent but nonprofessional music lovers who don't know a stretto from a diminished fifth; and the best way I have found so far is by setting up a working analogy with language, since language is something everyone shares and uses and knows about.

Only then comes the fourth and last movement, the Adagio, the final farewell. It takes the form of a prayer, Mahler's last chorale, his closing hymn, so to speak; and it prays for the restoration of life, of tonality, of faith. This is tonality unashamed, presented in all aspects ranging from the diatonic simplicity of the hymn tune that opens it through every possible chromatic ambiguity. It's also a passionate prayer, moving from one climax to another, each more searing than the last. But there are no solutions. And between these surges of prayer there is intermittently a sudden coolness, a wide-spaced transparency, like an icy burning — a Zen-like immobility of pure meditation. This is a whole other world of prayer, of egoless acceptance. But again, there are no solutions. "Heftig ausbrechend!" he writes, as again the despairing chorale breaks out with greatly magnified intensity. This is the dual Mahler, flinging himself back into his burning Christian prayer, then again freezing into his Eastern one. This vacillation is his final duality. In the very last return of the hymn he is close to prostration; it is all he can give in prayer, a sobbing, sacrificial last try. But suddenly this climax fails, unachieved — the one that might have worked, that might have brought solutions. This last desperate reach falls short of its goal, subsides into a hint of resignation, then another hint, then into resignation itself. And so we come to the final incredible page. And this page, I think, is the closest we have ever come, in any work of art, to experiencing the very act of dying, of giving it all up. The slowness of this page is terrifying: Adagissimo, he writes, the slowest possible musical direction; and then langsam (slow), ersterbend (dying away), zögernd (hesitat-ing); and as if all those were not enough to indicate the near stoppage of time, he adds äusserst langsam (extremely slow) in the very last bars. It is terrifying, and paralyzing, as the strands of sound disintegrate. We hold on to them, hovering between hope and submission. And one by one, these spidery strands connecting us to life melt away, vanish from our fingers even as we hold them. We cling to them as they dematerialize; we are holding two-then one. One, and suddenly none. For a petrifying moment there is only silence. Then again, a strand, a broken strand, two strands, one ... none. We are half in love with easeful death ... now more than ever seems it rich to die, to cease upon the midnight with no pain ... And in ceasing, we lose it all. But in letting go, we have gained everything.

Chichester Psalms by Leonard Bernstein (1918-1990) Psalm 108, verse 2 Awake, psaltery and harp! I will rouse the dawn! Psalm 100 Make a joyful noise unto the Lord all ye lands. Serve the Lord with gladness. Come before his presence with singing. Know ye that the Lord, He is God. It is He that hath made us, and not we ourselves We are His people and the sheep of His pasture. Enter into His gates with thanksgiving, And into His courts with praise. Be thankful unto Him, and bless His name. For the Lord is good, His mercy is everlasting. And His truth endureth to all generations. Part II Psalm 23 The Lord is my shepherd, I shall not want. He maketh me to lie down in green pastures, He leadeth me beside the still waters, He restoreth my soul, He leadeth me in the paths of righteousness, For His name's sake. Yea, though I walk Through the valley of the shadow of death, I will fear no evil, For Thou art with me. Thy rod and Thy staff They comfort me. Thou preparest a table before me In the presence of mine enemies, Thou annointest my head with oil, My cup runneth over. Surely goodness and mercy Shall follow me all the days of my life, And I will dwell in the house of the Lord Forever. Psalm 2, verses 1-4 Why do the nations rage, And the people imagine a vain thing The kings of the earth set themselves, And the rulers take counsel together Against the Lord and against His annointed. Saying, let us break their bonds asunder, He that sitteth in the heavens Shall laugh, and the Lord Shall have them in derision! Psalm 131 Lord, Lord, My heart is not haughty, Nor mine eyes lofty, Neither do I exercise myself In great matters or in things Too wonderful for me to understand. Surely I have calmed And quieted myself, As a child that is weaned of his mother, My soul is even as a weaned child. Let Israel hope in the Lord From henceforth and forever. Psalm 133, verse 1 Behold how good, And how pleasant it is, For brethren to dwell Together in unity.

If I cannot see evidence of incarnation in a painting of a bridge in the rain by Hokusai, a book by Chaim Potok or Isaac Bashevis Singer, music by Bloch or Bernstein, then I will miss its significance in an Annunciation by Franciabigio, the final chorus of the St. Matthew Passion, the words of a sermon by John Donne.

What applies to art and medicine applies to all people working in every area, argued biologist, philosopher, artist, and art historian C. H. Waddington. In 1972 he wrote in his far-sighted book Biology and the History of the Future, “The acute problems of the world can be solved only by whole men [and women], not by people who refuse to be, publicly, anything more than a technologist, or a pure scientist, or an artist. In the world of today, you have got to be everything or you are going to be nothing.” Buckminster Fuller concurred. In his essay “Emergent Humanity,” he warned that in evolution “overspecialization leads to extinction. We need the philosopher-scientist-artist—the comprehensivist, not merely more deluxe quality technician-mechanics.

The arts are not merely for self-expression or entertainment. They are, as we have shown, disciplines as rigorous as medicine or mathematics, with their own bodies of knowledge, techniques, tools, skills, and philosophies. Moreover, because the imaginative tools used in the arts are critical to the humanities and the sciences, they deserve support not just for their own sake but for the sake of education as a whole. Math, science, and technology have flourished in the past only when and where all the arts have flourished. They will flourish or fail together in the future.

Third, we must implement a multidisciplinary education that places the arts on an equal footing with the sciences. Arts and sciences constantly interact in very fruitful ways that are often overlooked.

Music was simply a way to teach them how to understand how to learn, and the key was kan, a difficult-to-translate Japanese term meaning something akin to a combination of empathizing and kinesthetic thinking—becoming one with the music and the instrument producing it. A well-known westernized and modernized version of this philosophy can be found in Robert M. Pirsig’s Zen and the Art of Motorcycle Maintenance, a guide to understanding not just people but things through an empathic approach.

Fourth, we must integrate the curriculum by using a common descriptive language for innovation. There is no point in teaching a liberal arts and sciences curriculum that continues to fragment knowledge and creates specialists who cannot communicate across disciplinary lines. Education must focus on the trunk of the tree of knowledge, revealing the ways in which the branches, twigs, and leaves all emerge from a common core. Tools for thinking stem from this core, providing a common language with which practitioners in different fields may share their experience of the process of innovation and discover links between their creative activities. When the same terms are employed across the curriculum, students begin to link different subjects and classes.

Rectification Campaign, that Mao engineered in Yenan and that was designed both to indoctrinate the thousands who had flocked to Yenan and to eradicate his opponents inside the party. The long-range effect of this famous meeting was to reduce the magnificent art and culture of China, historically one of the greatest contributions to global culture ever made, to standardized, officially approved propaganda.

the abandoning of art, as a practice, as an idea, is also an abandonment of..as J. M. Bernstein put it: “its function as a form of resistance, a reminder, a placeholder, for the claim of sensuous particularity, and so nature, against the claim of self authorizing mindedness.

In the three decades after World War II, we saw a movement to elevate culture for the masses. The middlebrow consensus, we could say, tracked with the upheaval of the modern movement in art, architecture, literature, and music. It meant publication of paperbacks of classic novels, the Great Books push, Leonard Bernstein on television, Thelonious Monk on the cover of Time, an expanding English major in colleges and universities, and so on. These days, it all seems like ancient history. Do we have a new, fruitful way to think about culture that goes beyond midcentury middlebrow? 2. If, as children, people don’t learn to love fiction, music of a

Liberals dominate most of the leading opinion-making areas of American life-- journalism, the movie and television industries, academia, the publishing industry, the legal profession, the mainline churches, and the arts. Conservatives dominate talk radio, evangelical churches, and have Fox News, but that hardly evens things out. By contrast with liberal dominance in the opinion-making elite, the playing field is more or less level with regard to spending on political campaigns-- on average, Democrats and Republicans spend approximately the same amount. Nether party has the massive, structural advantages when it comes to campaign spending that the Democrats have in the broader political and ideological arena. Without the relatively level playing field of campaign spending, left-leaning opinion-makers would be able to virtually monopolize American political discourse. So the Obama administration's and leading Democratic politicians' over-the-top reaction to Citizens United was not because they suddenly became Boy Scouts interested in improving the American political system by reducing the relevance of money-- indeed, in 2008 Obama, breaking a campaign promise, became the first major-party candidate to decline federal campaign funds and the spending limits that come with those funds. His campaign wound up outspending McCain's by the largest margin in history. Rather, the Democrats understand that reducing the funds available to all candidates will disproportionately harm the Republicans, because Republicans have fewer "free" ways to get their message out.

Thinking, Fast and Slow by Daniel Kahneman The Four Pillars of Investing by William Bernstein The Little Book of Common Sense Investing by John Bogle The Little Book of Behavioral Investing by James Montier Stocks for the Long Run by Jeremy Siegel The Warren Buffett Portfolio by Robert Hagstrom Damn Right: Behind the Scenes with Berkshire Hathaway Billionaire Charlie Munger by Janet Lowe Investing: The Last Liberal Art by Robert Hagstrom Success Equation: Untangling Skill and Luck in Business, Sports, and Investing by Michael Mauboussin Devil Take the Hindmost by Edward Chancellor The Most Important Thing by Howard Marks All About Asset Allocation by Rick Ferri Winning the Loser's Game by Charles Ellis

Ingenious and original as Fibonacci’s exercises were, if the book had dealt only with theory it would probably not have attracted much attention beyond a small circle of mathematical cognoscenti. It commanded an enthusiastic following, however, because Fibonacci filled it with practical applications. For example, he described and illustrated many innovations that the new numbers made possible in commercial bookkeeping, such as figuring profit margins, money-changing, conversions of weights and measures, and—though usury was still prohibited in many places—he even included calculations of interest payments. Liber Abaci provided just the kind of stimulation that a man as brilliant and creative as the Emperor Frederick would be sure to enjoy. Though Frederick, who ruled from 1211 to 1250, exhibited cruelty and an obsession with earthly power, he was genuinely interested in science, the arts, and the philosophy of government. In Sicily, he destroyed all the private garrisons and feudal castles, taxed the clergy, and banned them from civil office. He also set up an expert bureaucracy, abolished internal tolls, removed all regulations inhibiting imports, and shut down the state monopolies. Frederick tolerated no rivals. Unlike his grandfather, Frederick Barbarossa, who was humbled by the Pope at the Battle of Legnano in 1176, this Frederick reveled in his endless battles with the papacy. His intransigence brought him not just one excommunication, but two. On the second occasion, Pope Gregory IX called for Frederick to be deposed, characterizing him as a heretic, rake, and anti-Christ. Frederick responded with a savage attack on papal territory; meanwhile his fleet captured a large delegation of prelates on their way to Rome to join the synod that had been called to remove him from power.

Cardano’s great book on mathematics, Ars Magna (The Great Art), appeared in 1545, at the same time Copernicus was publishing his discoveries of the planetary system and Vesalius was producing his treatise on anatomy. The book was published just five years after the first appearance of the symbols “+” and “−” in Grounde of Artes by an Englishman named Robert Record. Seventeen years later, an English book called Whetstone of Witte introduced the symbol “=” because “noe 2 thynges can be more equalle than a pair of paralleles.”8 Ars Magna was the first major work of the Renaissance to concentrate on algebra.

Against the Gods: The Remarkable Story of Risk by Peter L. Bernstein

Numerous scientists have also advocated art as a way to train observation, reiterating the theme that “that which has not been drawn has not been seen.” As Santiago Ramón y Cajal, the great turn-of-the-century neuroanatomist, explained, “If our study is concerned with an object related to natural history, etc., observation will be accompanied by sketching; for aside from other advantages, the act of depicting something disciplines and strengthens attention, obliging us to cover the whole of the phenomenon. . . . It is not without reason [therefore] that all great observers are skillful in sketching.

Narcissistic Superstars’ abilities, coupled with their tremendous hunger, may bring them success, but never satisfaction. They build empires, lead nations, create great works of art, and amass huge sums of money for one purpose only: to prove how great they are. Superstars may boast incessantly about what they have and what they’ve done, but once they have it or have done it, whatever it is loses value in their eyes. They always need more. Whether it’s money, honors, status symbols, or sexual conquests, Superstars always want something. They get what they want too. Every one of them has a trophy collection. Adding to it is the sole purpose of Narcissists’ existence; there is no higher goal. The most dangerous place you can be is between a Narcissistic Superstar and the next

Most important, in late 1980, Yip joined Leonard Bernstein, Arthur Laurents, and Sheldon Harnick at a news conference announcing the creation of a new musical theater program at New York University’s Tisch School of the Arts, a program that has gained international renown.