Industrial Arts Quotes

Poetry, like jazz, is one of those dazzling diamonds of creative industry that help human beings make sense out of the comedies and tragedies that contextualize our lives.

In the traditional Islamic world, the hierarchy of the arts was not based on whether they were "fine" or "industrial" or "minor". It was based upon the effect of art on the soul of the human being.

In one breath, you fear the government getting involved with unions, welfare, or immigration laws all, in essence, aimed at helping our poor fellow Americanyet, in another breath, you look for tariffs and even subsidies.

Whatsoever therefore is consequent to a time of war, where every man is enemy to every man, the same consequent to the time wherein men live without other security than what their own strength and their own invention shall furnish them withal. In such condition there is no place for industry... no knowledge of the face of the earth; no account of time; no arts; no letters; no society; and which is worst of all, continual fear, and danger of violent death; and the life of man, solitary, poor, nasty, brutish, and short.

We have to defend democracy, but remember that not everything is politics. Without science, industry, and technology, no progress is possible, and without music and art, there's no soul.

The term bohemian has a bad reputation because it's allied to myriad clichés, but Parisians originally adopted the term, associated with nomadic Gypsies, to describe artists and writers who stayed up all night and ignored the pressures of the industrial world.

People err who think my art comes easily to me. I assure you, dear friend, nobody has devoted so much time and thought to compositions as I. There is not a famous master whose music I have not industriously studied through many times.

I sincerely believe that only those who are financially free can produce great works of art. Poor artists are too bothered about money and fame, which hampers their creativity. An artist shouldn’t have any financial pressure. One can’t create something poetic if commercial success is all one is concerned about.

Whatever man may stand, whatever he may do, to whatever he may apply his hand - in agriculture, in commerce, and in industry, or his mind, in the world of art, and science - he is, in whatsoever it may be, constantly standing before the face of God. He is employed in the service of his God. He has strictly to obey his God. And above all, he has to aim at the glory of his God.

Map-making had never been a precise art on the Discworld. People tended to start off with good intentions and then get so carried away with the spouting whales, monsters, waves and other twiddly bits of cartographic furniture that the often forgot to put the boring mountains and rivers in at all.

In the Somme valley, the back of language broke. It could no longer carry its former meanings. World War I changed the life of words and images in art, radically and forever. It brought our culture into the age of mass-produced, industrialized death. This, at first, was indescribable.

WHATEVER YOU DO, DO IT WITH ALL YOUR MIGHT Work at it, if necessary, early and late, in season and out of season, not leaving a stone unturned, and never deferring for a single hour that which can be done just as well now. The old proverb is full of truth and meaning, "Whatever is worth doing at all, is worth doing well." Many a man acquires a fortune by doing his business thoroughly, while his neighbor remains poor for life, because he only half does it. Ambition, energy, industry, perseverance, are indispensable requisites for success in business. Fortune always favors the brave, and never helps a man who does not help himself.

Industry and business acumen are not merely desirable traits for board members; they are essential prerequisites for effective corporate governance.

The Negro will have to build his own industry, art, sciences, literature, and culture before the world will stop to consider him.

Today is such a time, when the project of interpretation is largely reactionary, stifling. Like the fumes of the automobile and of heavy industry which befoul the urban atmosphere, the effusion of interpretations of art today poisons our sensibilities. In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art. Even more. It is the revenge of the intellect upon the world. To interpret is to impoverish, to deplete the world - in order to set up a shadow world of 'meanings.' It is to turn the world into this world. ('This world'! As if there were any other.) The world, our world, is depleted, impoverished enough. Away with all duplicates of it, until we again experience more immediately what we have.

The shared meal is no small thing. It is a foundation of family life, the place where our children learn the art of conversation and acquire the habits of civilization: sharing, listening, taking turns, navigating differences, arguing without offending. What have been called the “cultural contradictions of capitalism”—its tendency to undermine the stabilizing social forms it depends on—are on vivid display today at the modern American dinner table, along with all the brightly colored packages that the food industry has managed to plant there.

Finding a master of the dark art of ninjutsu in modern westernized Japan seems as unlikely as finding an active practitioner of the magic of Merlin in contemporary industrialized England.

To husband is to use with care, to keep, to save, to make last, to conserve. Old usage tells us that there is a husbandry also of the land, of the soil, of the domestic plants and animals - obviously because of the importance of these things to the household. And there have been times, one of which is now, when some people have tried to practice a proper human husbandry of the nondomestic creatures in recognition of the dependence of our households and domestic life upon the wild world. Husbandry is the name of all practices that sustain life by connecting us conservingly to our places and our world; it is the art of keeping tied all the strands in the living network that sustains us. And so it appears that most and perhaps all of industrial agriculture's manifest failures are the result of an attempt to make the land produce without husbandry.

The beauty myth sets it up this way: A high rating as an art object is the most valuable tribute a woman can exact from her lover. If he appreciates her face and body because it is hers, that is next to worthless. It is very neat: The myth contrives to make women offend men by scrutinizing honest appreciation when they give it; it can make men offend women merely by giving them honest appreciation. It can manage to contaminate the sentence "You're beautiful," which is next to "I love you" in expressing a bond of regard between a woman and a man. A man cannot tell a woman that he loves to look at her without risking making her unhappy. If he never tells her, she is destined to be unhappy. And the "luckiest" woman of all, told she is loved because she's "beautiful," is often tormented because she lacks the security of being desired because she looks like who she lovably is.

Yes, yes, I see it all! — an enormous social activity, a mighty civilization, a profuseness of science, of art, of industry, of morality, and afterwords, when we have filled the world with industrial marvels, with great factories, with roads, museums and libraries, we shall fall exhausted at the foot of it all, and it will subsist — for whom? Was man made for science or was science made for man?

When deathcare became an industry in the early twentieth century, there was a seismic shift in who was responsible for the dead. Caring for the corpse went from visceral, primeval work performed by women to a “profession,” an “art,” and even a “science,” performed by well-paid men.

As soon as a Western man comes into contact with the East -- he's already confused. The West has sort of an international rape mentality towards the East. ...Basically, 'Her mouth says no, but her eyes say yes.' The West thinks of itself as masculine -- big guns, big industry, big money -- so the East is feminine -- weak, delicate, poor...but good at art, and full of inscrutable wisdom -- the feminine mystique. Her mouth says no, but her eyes say yes. The West believes the East, deep down, wants to be dominated -- because a woman can't think for herself. ...You expect Oriental countries to submit to your guns, and you expect Oriental women to be submissive to your men.

While the government is "studying" and funding and organizing its Big Thought, nothing is being done. But the citizen who is willing to Think Little, and, accepting the discipline of that, to go ahead on his own, is already solving the problem. A man who is trying to live as a neighbor to his neighbors will have a lively and practical understanding of the work of peace and brotherhood, and let there be no mistake about it - he is doing that work... A man who is willing to undertake the discipline and the difficulty of mending his own ways is worth more to the conservation movement than a hundred who are insisting merely that the government and the industries mend their ways. (pg.87, "Think Little")

Nowadays, of course, just about our only solvent industry is the merchandising of death, bankrolled by our grandchildren, so that the message of our principal art forms, movies and television and political speeches and newspaper columns, for the sake of the economy, simply has to be this: War is hell, all right, but the only way a boy can become a man is in a shoot-out of some kind, preferably, but by no means necessarily, on a battlefield.

CARL SAGAN SAID that if you want to make an apple pie from scratch, you must first invent the universe. When he says “from scratch,” he means from nothing. He means from a time before the world even existed. If you want to make an apple pie from nothing at all, you have to start with the Big Bang and expanding universes, neutrons, ions, atoms, black holes, suns, moons, ocean tides, the Milky Way, Earth, evolution, dinosaurs, extinction- level events, platypuses, Homo erectus, Cro- Magnon man, etc. You have to start at the beginning. You must invent fire. You need water and fertile soil and seeds. You need cows and people to milk them and more people to churn that milk into butter. You need wheat and sugar cane and apple trees. You need chemistry and biology. For a really good apple pie, you need the arts. For an apple pie that can last for generations, you need the printing press and the Industrial Revolution and maybe even a poem.To make a thing as simple as an apple pie, you have to create the whole wide world.

The culture industry is not the art of the consumer but rather the projection of the will of those in control onto their victims. The automatic self-reproduction of the status quo in its established forms is itself an expression of domination.

I thought to myself with what means, with what deceptions, with how many varied arts, with what industry a man sharpens his wits to deceive another and through these variations the world is made more beautiful.

They lived off each other's hypocrisy, fuelling a worthless market of trash.

...a lone genius might create a classic work of art or literature, but he could never create an entire industry.

The artist has some internal experience that produces a poem, a painting, a piece of music. Spectators submit themselves to the work, which generates an inner experience for them. But historically it's a very new, not to mention vulgar, idea that the spectators experience should be identical to, or have anything to do with, the artist's. That idea comes from an over-industrialized society which has learned to distrust magic.

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.

Bad music is a form of murder to the true art of music in general.Bad music forced on a child is abuse because it invariably forms that child´s taste in music. Bad music has raped an industry that was held up strongly by great expression for decades but now finds itself floundering, giving in to the lowest common denominator of music just to keep its panties around its waist. Bad music tortures the eardrums and kills little bits of your senses through prolonged exposure. Bad music steals money from shallow pockets, steals airtime from more deserving bands and songwriters, and steals the spotlight from undiscovered geniuses who have all but given up on a dream because of the mediocrity of popular radio. Bad music is a lie, and yet it is foisted on the public in an attempt to turn melodies and songs into hamburgers and fries. Bad music is truly a sin because you don´t have to be exceptional to make it in the music industry anymore. You just have to be good enough to stick around and be tolerated. I understand that bad music is a matter of opinion. I know that. But I am fairly confident that more people agree with me than you suspect. Bad music is just fucking bad.

Board members must stay abreast of industry trends, regulatory changes, and emerging financial risks to ensure that they are equipped to make sound financial decisions.

While industry knowledge provides a broad context, a thorough grasp of the company's internal workings is equally vital.

While industry and business acumen are paramount, boards should also embrace diversity of thought and experience.

The barriers are not erected which can say to [aspiring] talents and industry, “Thus far and no farther.

In such condition, there is no place for Industry; because the fruit thereof is uncertain; and consequently no Culture of the Earth; no Navigation, nor use of the commodities that may be imported by Sea; no commodious Building; no Instruments of moving, and removing such things as require much force; no Knowledge of the face of the Earth; no account of Time; no Arts; no Letters; no Society; and which is worst of all, continual fear, and danger of violent death; And the life of man, solitary, poor, nasty, brutish, and short.

the art of successful investment lies first in the choice of those industries that are most likely to grow in the future and then in identifying the most promising companies in these industries.

Dictionaries, manuals, grammars, study guides and topic notes, classical authors and the entire book trade in de Viris, Quintus-Curtius, Sallust, and Livy peacefully crumbled to dust on the shelves of the old Hachette publishing house; but introductions to mathematics, textbooks on civil engineering, mechanics, physics, chemistry, astronomy, courses in commerce, finance, industrial arts- whatever concerned the market tendencies of the day - sold by the millions of copies.

Foreigners have been encouraged to settle among you. Industry and virtue have been promoted by mutual emulation and mutual inspection; commerce and the arts have flourished; and I cannot help attributing those continual exertions of genius which appear among you to the inspiration of liberty, and that love of fame and knowledge which always accompany it. Religious bondage shackles and debilitates the mind, and unfits it for every noble enterprise, every expanded prospect. How far this is the case with Virginia will more clearly appear when the ensuing trial is made. [Letter to William Bradford Jr. April 1 1774]

Industry expertise is not simply about knowing the current trends and competitive landscape; it's about understanding the underlying forces that shape the industry's evolution.

I look forward to an America which will not be afraid of grace and beauty

The movies are probably a very unsafe guide to popular taste, because the film industry is virtually a monopoly, which means that it is not obliged to study its public at all closely.

Heinrich had a reputation locally for cunning, but Ankh-Morpork had overtaken cunning a thousand years ago, had sped past devious, had left artful far behind, and had now, by a roundabout route, arrived at straightforward.

Deep knowledge of the company's industry is essential for understanding the competitive landscape, regulatory environment, and emerging trends. Board members with industry experience can provide valuable insights and guidance on strategic decision-making, risk management, and growth opportunities.

Art is such an action. It is a kindred form of action to idealism. They are both expressions of the same drive, and the man who fails to fulfill this urge in one form or another is as guilty of escapism as the one who fails to occupy himself with the satisfaction of bodily needs. In fact, the man who spends his entire life turning the wheels of industry so that he has neither time nor energy to occupy himself with any other needs of his human organism is by far a greater escapist than the one who developed his art. For the man who develops his art does make adjustments to his physical needs. He understands that man must have bread to live, while the other cannot understand that you cannot live by bread alone.

Who wouldn’t love this jargon we dress common sense in: "formal innovation is no longer transformative, having been co-opted by the forces of stabilization and post-industrial inertia," blah, blah. But this co-optation might actually be a good thing if it helped keep younger writers from being able to treat mere formal ingenuity as an end in itself. MTV-type co-optation could end up a great prophylactic against cleveritis—you know, the dreaded grad-school syndrome of like "Watch me use seventeen different points of view in this scene of a guy eating a Saltine." The real point of that shit is "Like me because I’m clever"—which of course is itself derived from commercial art’s axiom about audience-affection determining art’s value.

By comparing the company's performance to industry peers, board members can gain valuable insights into areas for improvement and identify best practices.

Beyond industry knowledge, board members must possess a strong understanding of the company's specific business model, operations, and financial performance.

When board members possess a deep understanding of both the industry and the business, their contributions to governance become exponentially more valuable.

A deep understanding of the business and industry landscape allows board members to identify emerging risks and ensure appropriate mitigation strategies are in place.

(Productive Workers + Innovative Products = Industry Leadership, no?)

The problem of architecture as I see it is the problem of all art – the elimination of the human element from the consideration of the form.

Without science, industry, and technology, no progress is possible, and without music and art, there’s no soul,

If (a writer) has applied himself to an art for 15 or 20 years and they’ve gotten good at it, and they’re expected to do something else to support themselves while the industry that sells this craft supports itself very well, something is badly wrong. Morally wrong.

The consumer society hungers for the deviant and unexpected. What else can drive the bizarre shifts in the entertainment landscape that will keep us "buying"? Psychopathy is the only engine powerful enough to light our imaginations, to drive the arts, sciences and industries of the world.

I have written this because it may have escaped the notice of many who have admired her [Marie Tempest] brilliant performances that they are due not only to her natural gifts...but to patience, assiduity, industry and discipline. Without these it is impossible to excel in any of the arts.

Idealism, though just in its premises, and often daring and honest in their application, is stultified by the exclusive intellectualism of its own methods: by its fatal trust in the squirrel-work of the industrious brain instead of the piercing vision of the desirous heart. It interests man, but does not involve him in its processes: does not catch him up to the new and more real life which it describes. Hence the thing that matters, the living thing, has somehow escaped it; and its observations bear the same relation to reality as the art of the anatomist does to the mystery of birth.

Things senseless live by art, and rational die By rude contempt of art and industry.

Some stories, some visions, demand celluloid film and what it can deliver.

The cultural industry will always have the means and might to dominate our mind-space, and a major point of “indie snobbery” was to provide counterbalance.

The tremendous leisure industry that has arisen in the last few generations has been designed to help fill free time with enjoyable experiences. Nevertheless, instead of using our physical and mental resources to experience flow, most of us spend many hours each week watching celebrated athletes playing in enormous stadiums. Instead of making music, we listen to platinum records cut by millionaire musicians. Instead of making art, we go to admire paintings that brought in the highest bids at the latest auction. We do not run risks acting on our beliefs, but occupy hours each day watching actors who pretend to have adventures, engaged in mock-meaningful action.

Today is such a time, when the project of interpretation is largely reactionary, stifling. Like the fumes of the automobile and of heavy industry which befoul the urban atmosphere, the effusion of interpretations of art today poisons our sensibilities. In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art.

I wish that future novelists would reject the pressure to write for the betterment of society. Art is not media. A novel is not an 'afternoon special' or fodder for the Twittersphere or material for the journalists to make neat generalizations about culture. A novel is not Buzzfeed or NPR or Instagram or even Hollywood. Let's get clear about that. A novel is a literary work of art meant to expand consciousness. We need novels that live in an amoral universe, past the political agenda described on social media. We have imaginations for a reason. Novels like American Psycho and Lolita did not poison culture. Murderous corporations and exploitative industries did. We need characters in novels to be free to range into the dark and wrong. How else will we understand ourselves?

As Mozart himself wrote to a friend, “People err who think my art comes easily to me. I assure you, dear friend, nobody has devoted so much time and thought to composition as I. There is not a famous master whose music I have not industriously studied through many times.

We called them the Nine-to-Fivers. They lived in accordance with nature, waking and sleeping with the cycle of the sun. Mealtimes, business hours, the world conformed to their schedule. The best markets, the A-list concerts, the street fairs, the banner festivities were on Saturdays and Sundays. They sold out movies, art openings, ceramics classes. They had evenings to waste. The watched the Super Bowl, they watched the Oscars, they made reservations for dinner because they ate dinner at a normal time. They brunched, ruthlessly, and read the Sunday Times on Sundays. They moved in crowds that reinforced their citizenship: crowded museums, crowded subways, crowded bars, the city teeming with extras for the movie they starred in. They were dining, shopping, consuming, unwinding, expanding while we were working, diminishing, being absorbed into their scenery. That is why we -- the Industry People -- got so greedy when the Nine-to-Fivers went to bed.

While everybody tries to be as close as possible to the rest, everybody remains utterly alone, pervaded by the deep sense of insecurity, anxiety and guilt which always results when human separateness cannot be overcome. Our civilization offers many palliatives which help people to be consciously unaware of this aloneness: first of all the strict routine of bureaucratized, mechanical work, which helps people to remain unaware of their most fundamental human desires, of the longing for transcendence and unity. Inasmuch as the routine alone does not succeed in this, man overcomes his unconscious despair by the routine of amusement, the passive consumption of sounds and sights offered by the amusement industry; furthermore by the satisfaction of buying ever new things, and soon exchanging them for others. Modern man is actually close to the picture Huxley describes in his Brave New World: well fed, well clad, satisfied sexually, yet without self, without any except the most superficial contact with his fellow men, guided by the slogans which Huxley formulated so succinctly, such as: “When the individual feels, the community reels”; or “Never put off till tomorrow the fun you can have today,” or, as the crowning statement: “Everybody is happy nowadays.” Man’s happiness today consists in “having fun.” Having fun lies in the satisfaction of consuming and “taking in” commodities, sights, food, drinks, cigarettes, people, lectures, books, movies—all are consumed, swallowed.

But it is on occasions like this that I always think how different everything would be if we in the Orient had developed our own science. Suppose for instance that we had developed our own physics and chemistry: would not the techniques and industries based on them have taken a different form, would not our myriads of everyday gadgets, our medicines, the products of our industrial art - would they not have suited our national temper better than they do?

As the final decade of the millennium dawned, there would be no greater expression of the cultural, economic, and social revolutions to come than fashion. What rock 'n' roll was to the '50s, drugs to the '60s, film to the '70s, and modern art to the '80s, fashion was to the '90s: the fuse, then the filter.

The history of man is simply the history of slavery, of injustice and brutality, together with the means by which he has, through the dead and desolate years, slowly and painfully advanced. He has been the sport and prey of priest and king, the food of superstition and cruel might. Crowned force has governed ignorance through fear. Hypocrisy and tyranny—two vultures—have fed upon the liberties of man. From all these there has been, and is, but one means of escape—intellectual development. Upon the back of industry has been the whip. Upon the brain have been the fetters of superstition. Nothing has been left undone by the enemies of freedom. Every art and artifice, every cruelty and outrage has been practiced and perpetrated to destroy the rights of man. In this great struggle every crime has been rewarded and every virtue has been punished. Reading, writing, thinking and investigating have all been crimes. Every science has been an outcast. All the altars and all the thrones united to arrest the forward march of the human race. The king said that mankind must not work for themselves. The priest said that mankind must not think for themselves. One forged chains for the hands, the other for the soul. Under this infamous regime the eagle of the human intellect was for ages a slimy serpent of hypocrisy. The human race was imprisoned. Through some of the prison bars came a few struggling rays of light. Against these bars Science pressed its pale and thoughtful face, wooed by the holy dawn of human advancement. Bar after bar was broken away. A few grand men escaped and devoted their lives to the liberation of their fellows.

Industry in art is a necessity—not a virtue—and any evidence of the same, in the production, is a blemish, not a quality; a proof, not of achievement, but of absolutely insufficient work, for work alone will efface the footsteps of work.

Most of today’s educational systems are built upon the same learning hierarchy: math and science at the top, humanities in the middle, art on the bottom. The reason for this is because these systems were developed in the nineteenth century, in the midst of the industrial revolution, when this hierarchy provided the best foundation for success. This is no longer the case. In a rapidly changing technological culture and an ever-growing information-based economy, creative ideas are the ultimate resource. Yet our current educational system does little to nourish this resource.

In 1998 Gordon Hempton, a sound recordist attempting to build a library of natural sounds, toured fifteen states west of the Mississippi and found only two areas--in the mountains of Colorado and the Boundary Waters of Minnesota--that were free of motors, aircraft, industrial clamor, or gunfire for more than fifteen minutes during daylight.

Without science, industry, and technology, no progress is possible, and without music and art, there’s no soul,” he would maintain.

The foundation of Hollywood alchemically turned celluloid into gold and insincerity into an art form.

It was so hard to make it in the arts, but crime was always a growth industry.

Give people films, they will forget after a few weeks, but give people ideas, they will assimilate them into their consciousness.

the company may be saying “state-of-the-art” when the pragmatist wants to hear “industry standard.

Whether ritualized or not, art contains the rationality of negation. In its advanced positions, it is the Great Refusal—the protest against that which is.

And what is the single most important finding of the advertising industry? Perhaps it is that ‘advertisements featuring cute animals tend to be more successful than ads that don’t’.

I have to laugh when people ask me if I do alternative, herbal, acupuncture or holistic medicine. 'No,' I reply. 'We do state-of-the-art medicine. In other words, we find the biochemical, nutritional and environmental causes and cures rather than blindly drugging everything. Sure, herbs are gentler, safer and more physiologic than drugs and holistic medicine attempts to incorporate many diverse modalities, etc. But there is no substitute for finding the underlying biochemical causes and cures. This is real medicine. This is where medicine should and would have been decades ago, if it had not been abducted by the pharmaceutical industry.

Considering thus how much honor is awarded to antiquity, and how many times—letting pass infinite other examples—a fragment of an ancient statue has been bought at high price because someone wants to have it near oneself, to honor his house with it, and to be able to have it imitated by those who delight in that art, and how the latter then strive with all industry to represent it in all their works; and seeing, on the other hand, that the most virtuous works the histories show us, which have been done by ancient kingdoms and republics, by kings, captains, citizens, legislators, and others who have labored for their fatherland, are rather admired than imitated—indeed they are so much shunned by everyone in every least thing that no sign of that ancient virtue remains with us—I can do no other than marvel and grieve… From this it arises that the infinite number who read [the histories] take pleasure in hearing of the variety of accidents contained within them without thinking of imitating them, judging that imitation is not only difficult but impossible—as if heaven, sun, elements, men had varied in motion, order, and power from what they were in antiquity. Wishing, therefore, to turn men from this error, I have judged it necessary to write on all those books of Titus Livy...

Imagination is not, as some poets have thought, simply synonymous with good. It may be either good or evil. As long as art remained primarily mimetic, the evil which imagination could do was limited by nature. Again, as long as it was treated as an amusement, the evil which it could do was limited in scope. But in an age when the connection between imagination and figuration is beginning to be dimly realized, when the fact of the directionally creator relation is beginning to break through into consciousness, both the good and the evil latent in the working of imagination begin to appear unlimited. We have seen in the Romantic movement an instance of the way in which the making of images may react upon the collective representations. It is a fairly rudimentary instance, but even so it has already gone beyond the dreams and responses of a leisured few. The economic and social structure of Switzerland is noticeably affected by its tourist industry, and that is due only in part to increased facilities of travel. It is due not less to the condition that (whatever may be said about their ‘particles’) the mountains which twentieth-century man sees are not the mountains which eighteenth-century man saw. It may be objected that this is a very small matter, and that it will be a long time before the imagination of man substantially alters those appearances of nature with which his figuration supplies him. But then I am taking the long view. Even so, we need not be too confident. Even if the pace of change remained the same, one who is really sensitive to (for example) the difference between the medieval collective representations and our own will be aware that, without traveling any greater distance than we have come since the fourteenth century, we could very well move forward into a chaotically empty or fantastically hideous world. But the pace of change has not remained the same. It has accelerated and is accelerating. We should remember this, when appraising the aberrations of the formally representational arts. Of course, in so far as these are due to affectation, they are of no importance. But in so far as they are genuine, they are genuine because the artist has in some way or other experienced the world he represents. And in so far as they are appreciated, they are appreciated by those who are themselves willing to make a move towards seeing the world in that way, and, ultimately therefore, seeing that kind of world. We should remember this, when we see pictures of a dog with six legs emerging from a vegetable marrow or a woman with a motorbicycle substituted for her left breast.

Under ordinary circumstances, bad art naturally gets sorted out and disappears. That is how history works when it is left alone to do its job. The paradox of the culture wars is that they have made celebrities out of some artists who would otherwise vanish. Censorship has become a growth industry. This may be the best argument, in the end, for unfettered freedom of expression.

Those industry-designed latest models, which hover in the air, are nothing compared to the story these cars have—Rashad, her adoptive father, encourages her. So what it’ll be slower? So what if it’ll soon rust? So what if machines age faster? Clocks with hands and sophisticated wheels have more art than a digital clock. Right? … Kusha beams when Rashad Gaumont praises her cars.

Wisdom and knowledge, as well as virtue, diffused generally among the body of the people being necessary for the preservation of their rights and liberties; and as these depend on spreading the opportunities and advantages of education in various parts of the country, and among the different orders of the people, it shall be the duty of legislators and magistrates in all future periods of this commonwealth to cherish the interests of literature and the sciences, and all seminaries of them, especially the university at Cambridge, public schools, and grammar schools in the towns; to encourage private societies and public institutions, rewards and immunities, for the promotion of agriculture, arts, sciences, commerce, trades, manufactures, and a natural history of the country; to countenance and inculcate the principles of humanity and general benevolence, public and private charity, industry and frugality, honesty and punctuality in their dealings, sincerity, good humor, and all social affections, and generous sentiments among the people.

The first colonial teenagers rejected their parents’ values, as teenagers have done ever since Cain and Abel decided to get away from all that hippy nature stuff. They were sober, industrious and, if truth be told, not much fun. They laboured uncomplainingly in the sun, exercised in the fresh air, swam in the sea and were, on average, six inches taller than the malnourished British stock from which they had sprung. Within a single generation, the Artful Dodger had transformed into Chesty Bond.

Among peoples who possess a highly developed pugnacious instinct we find the greatest progress in the arts, sciences, social and political organization, commerce and industry. The instinct takes the milder form of rivalry which is the motive force of the great portion of the serious labors of mankind.

It is a great mortification to the vanity of man, that his utmost art and industry can never equal the meanest of nature's productions, either for beauty or value. Art is only the under-workman, and is employed to give a few strokes of embellishment to those pieces, which come from the hand of the master

Mrs. Watanabe loved hand painting, quilting, and the discipline of woven textiles, but she worried these techniques were a dying art. “Computers make everything too easy,” she said with a sigh. “People design very quickly on a monitor, and they print on some enormous industrial printer in a warehouse in a distant country, and the designer hasn’t touched a piece of fabric at any point in the process or gotten her hands dirty with ink. Computers are great for experimentation, but they’re bad for deep thinking.

Speaking of photography Baudelaire said: "This industry, by invading the territories of art, has become art's most mortal enemy." And in his own terms of reference Baudelaire was half right; certainly the new medium could not satisfy old standards. The photographer must find new ways to make his meaning clear.

This police commissary was a great patron of all the arts and industries; but what he liked above everything else was a cheque. “That’s the thing,” he used to say, “to which it is not easy to find an equivalent; it requires no food, it does not take up much room, it stays in one's pocket, and if it falls, it is not broken.

The next phase of the Digital Revolution will bring even more new methods of marrying technology with the creative industries, such as media, fashion, music, entertainment, education, literature, and the arts. Much of the first round of innovation involved pouring old wine—books, newspapers, opinion pieces, journals, songs, television shows, movies—into new digital bottles. But new platforms, services, and social networks are increasingly enabling fresh opportunities for individual imagination and collaborative creativity. Role-playing games and interactive plays are merging with collaborative forms of storytelling and augmented realities. This interplay between technology and the arts will eventually result in completely new forms of expression and formats of media. This innovation will come from people who are able to link beauty to engineering, humanity to technology, and poetry to processors. In other words, it will come from the spiritual heirs of Ada Lovelace, creators who can flourish where the arts intersect with the sciences and who have a rebellious sense of wonder that opens them to the beauty of both.

Whether we consider hip-hop as an evolved manifestation of the Harlem Renaissance or something completely new under the sun, it clearly has moved beyond the stage of just entertaining lives to that of informing and empowering lives.

The prevailing interest in the world of phenomena and the flâneur’s freedom of movement contrasted on the one hand with the principles of the metaphysical and religious tradition on which pre-industrial civilization was based and, on the other, with the dogma of productivity which held sway over the nascent bourgeois society. Hence the paradoxical nature of the flâneur, the shattered mirror of modernity. He acts out his own dissonant idleness right in the beating heart of the city and he steeps himself in the tumult of the crowd while seeking to maintain a critical detachment.

A man’s path to virtuous excellence begins with his pursuit of the seven manly virtues. These virtues, if diligently sought after and lived, will help a man unlock his fullest power and potential. The seven virtues are: Manliness Courage Industry Resolution Self-Reliance Discipline Honor These seven virtues can be striven for by any man, in any situation.

In every discipline artistic theory is little avail without unremitting exercise, but especially in mnemonics, theory is almost valueless unless made good by industry, devotion, toil, and care. You can make sure that you have as many places as possible and that these conform as much as possible to the rules; in placing the images you should exercise every day.’17

But if you can fix some conception of a true human state of life to be striven for — life, good for all men, as for yourselves; if you can determine some honest and simple order of existence; following those trodden ways of wisdom, which are pleasantness, and seeking her quiet and withdrawn paths, which are peace; — then, and so sanctifying wealth into 'commonwealth,' all your art, your literature, your daily labours, your domestic affection, and citizen's duty, will join and increase into one magnificent harmony. You will know then how to build, well enough; you will build with stone well, but with flesh better; temples not made with hands, but riveted of hearts; and that kind of marble, crimson-veined, is indeed eternal.

Here were the luxury and priviledge of the well-fed man scoffing at all hopes and progress for the rest. [He] owed nothing to a world that nurtured him kindly, liberally educated him for free, sent him to no wars, brought him to manhood without scary rituals or famine or fear of vengeful gods, embraced him with a handsome pension in his twenties and placed no limits on his freedom of expression. This was an easy nihilism that never doubted that all we had made was rotten, never thought to pose alternatives, never derived hope from friendship, love, free markets, industry, technology, trade, and all the arts and sciences.

It is no longer just engineers who dominate our technology leadership, because it is no longer the case that computers are so mysterious that only engineers can understand what they are capable of. There is an industry-wide shift toward more "product thinking" in leadership--leaders who understand the social and cultural contexts in which our technologies are deployed. Products must appeal to human beings, and a rigorously cultivated humanistic sensibility is a valued asset for this challenge. That is perhaps why a technology leader of the highest status--Steve Jobs--recently credited an appreciation for the liberal arts as key to his company's tremendous success with their various i-gadgets.

Wealth comes from industry and from the hard experience of human toil. To dissipate it in waste and extravagance is disloyalty to humanity. This is by no means a doctrine of parsimony. Both men and nations should live in accordance with their means and devote their substance not only to productive industry, but to the creation of the various forms of beauty and the pursuit of culture which give adornments to the art of life.

Advertising is profoundly manipulative at its core. Its imagery strives to deprive us of realistic ideas about love, sex, beauty, health, money, work, and life itself, in an attempt to convince us that only products can bring us true joy. Its practitioners are trained in psychology, sociology, argumentation, poetry, and design. These are powerful tools in the art of persuasion, more so when deployed by a multibillion-dollar industry.

«Ahora me doy cuenta de que el verdadero encanto de la vida intelectual —la vida consagrada a la erudición, a las investigaciones científicas, a la filosofía, a la estética, a la crítica— es su facilidad. Es la sustitución de las complejidades de la realidad por simples esquemas intelectuales, o de los desconcertantes movimientos de la vida por la muerte formal y tranquila. Es incomparablemente más fácil saber muchas cosas, por ejemplo, acerca de la historia del arte y tener ideas profundas acerca de la metafísica y de la sociología, que saber intuitiva y personalmente algo acerca de nuestros semejantes, y llevar relaciones satisfactorias con nuestros amigos y nuestras amantes, nuestra mujer y nuestros hijos. Vivir es mucho más difícil que el sánscrito, la química o la economía política. La vida intelectual es un juego de niños; lo cual explica el que los intelectuales tiendan a convertirse en niños, y luego en imbéciles, y finalmente, como claramente de muestra la historia política e industrial de los últimos siglos, en lunáticos homicidas y bestias salvajes. Las funciones reprimidas no mueren; se deterioran, degeneran, retrogradan al estado primitivo. Pero, entretanto, es mucho más fácil ser un niño intelectual, o un lunático, o una bestia, que un hombre adulto y armonioso. He ahí por qué, entre otras razones, existe tanta demanda de educación superior. Las gentes se abalanzan hacia los libros y las universidades como hacia los cafés. Quieren ahogar su conciencia de las dificultades que presenta el vivir adecuadamente en este grotesco mundo contemporáneo: quieren olvidar su deplorable insuficiencia en el arte de la vida. Algunos ahogan sus penas en alcohol, mientras que otros, todavía más numerosos, las ahogan en los libros y en el diletantismo artístico; algunos tratan de olvidarse a sí mismos por medio de la fornicación, el baile, el cinematógrafo, la radiotelefonía; otros, por medio de conferencias y ocupaciones científicas. Los libros y las conferencias son mejores para ahogar las penas que la bebida y la fornicación: no dejan dolor de cabeza, ni aquella desesperante sensación del post coitum triste.»

One of the great unwritten chapters of retail intelligence programming featured a “personal shopper” program that all-too-accurately modeled the shoppers’ desires and outputted purchase ideas based on what shoppers really wanted as opposed to what they wanted known that they wanted. This resulted in one overcompensatingly masculine test user receiving suggestions for an anal plug and a tribute art book for classic homoerotic artist Tom of Finland, while a female test user in the throes of a nasty divorce received suggestions for a small handgun, a portable bandsaw, and several gallons of an industrial solvent used to reduce organic matter to an easily drainable slurry. After history’s first recorded instance of a focus group riot, the personal shopper program was extensively rewritten.

Art reveals the transitory as an absolute; & as the transitory existence is perpetuated through the centuries, art too, through the centuries, must perpetuate this never-to-be-finished revelation. Thus, the constructive activities of man tale a valid meaning only when they are assumed as a movement toward freedom; & reciprocally, one sees that such a movement is concrete: discoveries, inventions, industries, culture, painting, & books people the world concretely & open possibilities to men.

Over recent years, [there's been] a strong tendency to require assessment of children and teachers so that [teachers] have to teach to tests and the test determines what happens to the child, and what happens to the teacher...that's guaranteed to destroy any meaningful educational process: it means the teacher cannot be creative, imaginative, pay attention to individual students' needs, that a student can't pursue things [...] and the teacher's future depends on it as well as the students'...the people who are sitting in the offices, the bureaucrats designing this - they're not evil people, but they're working within a system of ideology and doctrines, which turns what they're doing into something extremely harmful [...] the assessment itself is completely artificial; it's not ranking teachers in accordance with their ability to help develop children who reach their potential, explore their creative interests and so on [...] you're getting some kind of a 'rank,' but it's a 'rank' that's mostly meaningless, and the very ranking itself is harmful. It's turning us into individuals who devote our lives to achieving a rank, not into doing things that are valuable and important. It's highly destructive...in, say, elementary education, you're training kids this way [...] I can see it with my own children: when my own kids were in elementary school (at what's called a good school, a good-quality suburban school), by the time they were in third grade, they were dividing up their friends into 'dumb' and 'smart.' You had 'dumb' if you were lower-tracked, and 'smart' if you were upper-tracked [...] it's just extremely harmful and has nothing to do with education. Education is developing your own potential and creativity. Maybe you're not going to do well in school, and you'll do great in art; that's fine. It's another way to live a fulfilling and wonderful life, and one that's significant for other people as well as yourself. The whole idea is wrong in itself; it's creating something that's called 'economic man': the 'economic man' is somebody who rationally calculates how to improve his/her own status, and status means (basically) wealth. So you rationally calculate what kind of choices you should make to increase your wealth - don't pay attention to anything else - or maybe maximize the amount of goods you have. What kind of a human being is that? All of these mechanisms like testing, assessing, evaluating, measuring...they force people to develop those characteristics. The ones who don't do it are considered, maybe, 'behavioral problems' or some other deviance [...] these ideas and concepts have consequences. And it's not just that they're ideas, there are huge industries devoted to trying to instill them...the public relations industry, advertising, marketing, and so on. It's a huge industry, and it's a propaganda industry. It's a propaganda industry designed to create a certain type of human being: the one who can maximize consumption and can disregard his actions on others.

Nonetheless, many people, and especially intellectuals, passionately loathe capitalism. As they see it, this ghastly mode of society’s economic organization has brought about nothing but mischief and misery. Men were once happy and prosperous in the good old days preceding the Industrial Revolution. Now under capitalism the immense majority are starving paupers ruthlessly exploited by rugged individualists. For these scoundrels nothing counts but their moneyed interests. They do not produce good and really useful things, but only what will yield the highest profits. They poison bodies with alcoholic beverages and tobacco, and souls and minds with tabloids, lascivious books and silly moving pictures. The “ideological superstructure” of capitalism is a literature of decay and degradation, the burlesque show and the art of striptease, the Hollywood pictures and the detective stories.

Artists of today can be inspired by the past, but they have to apply present methods if they want a future in music.

Minimalism began as an art movement before branching off into other cultural sectors of society, including the music and fashion industry

Identify and follow the trends in your industry. Don’t fight against the current of change. Instead, recognize these as an opportunity and seize the advantage.

Tinkerers built America. Benjamin Franklin, Thomas Edison, Henry Ford, all were tinkerers in their childhood. Everything from the airplane to the computer started in somebody's garage. Go back even further: the Industrial Revolution was a revolution of tinkerers. The great scientific thinkers of eighteenth-century England couldn't have been less interested in cotton spinning and weaving. Why would you be? It was left to a bloke on the shop floor who happened to glance at a one-thread wheel that had toppled over and noticed that both the wheel and the spindle were still turning. So James Hargreaves invented the spinning jenny, and there followed other artful gins and mules and frames and looms, and Britain and the world were transformed. By tinkerers rather than thinkerers. "Technological change came from tinkerers," wrote Professor J.R. McNeill of Georgetown, "people with little or no scientific education but with plenty of hands-on experience." John Ratzenberger likes to paraphrase a Stanford University study: "Engineers who are great in physics and calculus but can't think in new ways about old objects are doomed to think in old ways about new objects." That's the lesson of the spinning jenny: an old object fell over and someone looked at it in a new way.

We shouldn't let our envy of distinguished masters of the arts distract us from the wonder of how each of us gets new ideas. Perhaps we hold on to our superstitions about creativity in order to make our own deficiencies seem more excusable. For when we tell ourselves that masterful abilities are simply unexplainable, we're also comforting ourselves by saying that those superheroes come endowed with all the qualities we don't possess. Our failures are therefore no fault of our own, nor are those heroes' virtues to their credit, either. If it isn't learned, it isn't earned. When we actually meet the heroes whom our culture views as great, we don't find any singular propensities––only combinations of ingredients quite common in themselves. Most of these heroes are intensely motivated, but so are many other people. They're usually very proficient in some field--but in itself we simply call this craftmanship or expertise. They often have enough self-confidence to stand up to the scorn of peers--but in itself, we might just call that stubbornness. They surely think of things in some novel ways, but so does everyone from time to time. And as for what we call "intelligence", my view is that each person who can speak coherently already has the better part of what our heroes have. Then what makes genius appear to stand apart, if we each have most of what it takes? I suspect that genius needs one thing more: in order to accumulate outstanding qualities, one needs unusually effective ways to learn. It's not enough to learn a lot; one also has to manage what one learns. Those masters have, beneath the surface of their mastery, some special knacks of "higher-order" expertise, which help them organize and apply the things they learn. It is those hidden tricks of mental management that produce the systems that create those works of genius. Why do certain people learn so many more and better skills? These all-important differences could begin with early accidents. One child works out clever ways to arrange some blocks in rows and stacks; a second child plays at rearranging how it thinks. Everyone can praise the first child's castles and towers, but no one can see what the second child has done, and one may even get the false impression of a lack of industry. But if the second child persists in seeking better ways to learn, this can lead to silent growth in which some better ways to learn may lead to better ways to learn to learn. Then, later, we'll observe an awesome, qualitative change, with no apparent cause--and give to it some empty name like talent, aptitude, or gift.

A precursor to the Social Darwinists, Hobbes argued from th premise that the primordial human condition was a war fought by each against each, so brutal and incesssant that it was impossible to develop industry or even agriculture or the arts while that condition persisted. It's this description that culmintes in his famous epithet "And the life of man, solitary, poor, brutish, and short." It was a fiction to which he brought to bear another fiction, that of the social contract by which men agree to submit to rules and a presiding authority, surrendering their right to ravage each other for the sake of their own safety. The contract was not a bond of affection or identification, bot a culture or religion binding togetehr a civilization, only a convenience. Men, in his view, as in that of many other European writers of the period, are stark, mechanical creatures, windup soldiers social only by strategy and not by nature...

No nation can approve violence against the most innocent and vulnerable, and expect the effects of that approval to be limited. By 1995, what had seemed a purely private decision in rare circumstances would become a standard method of birth control, an industry, a political litmus test, a rite of passage...a central tenet of a whole culture that centers not around life, its promise and responsibilities, but around self, its creation and cultivation. Those unalienable rights to life and liberty Mr. Jefferson mentioned in the Declaration seem to have been eclipsed by a sad emphasis on the pursuit of happiness. And for all the happiness that the unbridled right to an abortion is supposed to make possible, no political question since slavery seems so heavy with guilt, and its denial. Or else there would be no reason for those who favor abortion to call it something else, "choice" being the most popular euphemism and "reproductive freedom" the most ironic. The signs of this culture of death are now so common that they no longer stand out. In politics and economics, pop culture and art, lifestyle long ago replaced life.

New York city wasn't yet the post-Giuliani, Bloomberg forever, Disneyland tourist attraction of today, trade-marked and policed to protect the visitors and tourism industry. It was still a place of diversity, where people lived their lives in vibrant communities and intact cultures. Young people could still move to New York City after or instead of high school or college and invent an identity, an art, a life. Times Square was still a bustling center of excitement, with sex work, "adult" movies, a variety of sins on sale, ways to make money for those down on their luck".

Even then, retailers learned early that shoppers prefer their shopping suggestions not be too truthful. One of the great unwritten chapters of retail intelligence programming featured a “personal shopper” program that all-too-accurately modeled the shoppers’ desires and outputted purchase ideas based on what shoppers really wanted as opposed to what they wanted known that they wanted. This resulted in one overcompensatingly masculine test user receiving suggestions for an anal plug and a tribute art book for classic homoerotic artist Tom of Finland, while a female test user in the throes of a nasty divorce received suggestions for a small handgun, a portable bandsaw, and several gallons of an industrial solvent used to reduce organic matter to an easily drainable slurry.

Thatcher is remembered as The Iron Lady only because she possessed completely negative traits such as persistent stubbornness and a determined refusal to listen to others. Every move she made was charged by negativity; she destroyed the British manufacturing industry, she hated the miners, she hated the arts, she hated the Irish Freedom Fighters and allowed them to die, she hated the English poor and did nothing at all to help them, she hated Greenpeace and environmental protectionists, she was the only European political leader who opposed a ban on the ivory trade, she had no wit and no warmth and even her own cabinet booted her out.(...)She will only be fondly remembered by sentimentalists. As a matter of recorded fact, Thatcher was a terror without an atom of humanity.

Since the down-fall of the Roman empire, the policy of Europe has been more favourable to arts, manufactures, and commerce, the industry of towns, than to agriculture, the Industry of the country.

When a workman is unceasingly and exclusively engaged in the fabrication of one thing, he ultimately does his work with singular dexterity; but, at the same time, he loses the general faculty of applying his mind to the direction of the work. His every day becomes more of adroit and less industrious; so that it may be said of him, that, in proportion as the workman improves, the man is degraded. Alexis de Tocqueville

they are ingenious men. Those three carry with them into space all the resources of art, science, and industry. With those everything can be accomplished, and you will see that they will get out of the difficulty.

Over the twentieth century, taste became less a philosophical concept concerning the quality of art than a parallel to industrial-era consumerism, a way to judge what to buy and judge others for what they buy in turn.

792. Thief.-- N. thief, robber, homo trium literarum, pilferer, rifler, filcher, plagiarist. spoiler, depredator, pillager, marauder; harpy, shark, land-shark, falcon, moss-trooper, bushranger, Bedouin, brigand, freebooter, bandit, thug, dacoit, pirate, corsair, viking, Paul Jones; buccan-eer, -ier; piqu-, pick-eerer; rover, ranger, privateer, filibuster; rapparee, wrecker, picaroon; smuggler, poacher, plunderer, racketeer. highwayman, Dick Turpin, Claude Duval, Macheath, knight of the road, foodpad, sturdy beggar; abductor, kidnapper. cut-, pick-purse; pick-pocket, light-fingered gentry; sharper; card-, skittle-sharper; crook; thimble-rigger; rook, Greek, blackleg, leg, welsher, defaulter; Autolycus, Cacus, Barabbas, Jeremy Diddler, Robert Macaire, artful dodger, trickster; swell mob, chevalier d'industrie; shop-lifter. swindler, peculator; forger, coiner, counterfeiter, shoful; fence, receiver of stolen goods, duffer; smasher. burglar, housebreaker; cracks-, mags-man; Bill Sikes, Jack Sheppard, Jonathan Wild, Raffles, cat burglar. [Roget's Thesaurus, 1941 Revision]

That was an ordinary way for a patriotic American to talk back then. It's hard to believe how sick of war we used to be.[...]We used to call armaments manufacturers "Merchants of Death." Can you imagine that? Nowadays, of course, just about our only solvent industry is the merchandising of death, bankrolled by our grandchildren, so that the message of our principal art forms, movies and television and political speeches and newspaper columns, for the sake of the economy, simply has to be this: War is hell, all right, but the only way a boy can become a man is in a shoot-out of some kind, preferably, but by no means necessarily, on a battlefield.

As I said, I decided to try an experiment: Right now, from within my perception of my current circumstances, and from within the starkness of this realization, I determined to conceive and focus on what I would tell—and what I have told—my younger self, and live with the consequences. Here is what I wrote down: Immediately disassociate from destructive people and forces, if not physically then ethically—and watch for the moment when you can do so physically. Use every means to improve your mental acuity. Every sacrifice of empty leisure or escapism for study, industry, and growth is a fee paid to personal freedom. Train the body. Grow physically strong. Reduce consumption. You will be strengthened throughout your being. Seek no one’s approval through humor, servility, or theatrics. Be alone if necessary. But do not compromise with low company. At the earliest possible point, learn meditation (i.e., Transcendental Meditation), yoga, and martial arts (select good teachers). Go your own way—literally. Walk/bike and don’t ride the bus or in a car, except when necessary. Do so in all weather: rain, snow, etc. Be independent physically and you will be independent in other ways. Learn-study-rehearse. Pursue excellence. Or else leave something alone. Go to the limit in something or do not approach it. Starve yourself of the compulsion to derive your sense of wellbeing from your perception of what others think of you. Do this as an alcoholic avoids a drink or an addict a needle. It will be agonizing at first, since you may have no other perception of self; but this, finally, is the sole means of experiencing Self. Does this kind of advice, practicable at any time of life, really alter or reselect the perceived past, and, with it, the future? I intend to find out. You

And, after all, it is finer to kill a strong man with a clean-slicing blow of singing steel than to make a beast of him, and of his seed through the generations, by the artful and spidery manipulation of industry and politics.

Tolerably good workmen in any of those mechanic arts are sure to find employ, and to be well paid for their work, there being no restraints preventing strangers from exercising any art they understand, nor any permission necessary. If they are poor, they begin first as servants or journeymen; and if they are sober, industrious, and frugal, they soon become masters, establish themselves in business, marry, raise families, and become respectable citizens.

I often get inspiration from literature and art, as well as from simply keeping my eyes open as I walk along the street. Talent alone won't get you far in this profession because there are too many other factors involved. You have to be fully aware of what is going on in the world at large, not just in the design world. And street culture is just as important as high culture. We don't have to be artists or architects ourselves to get inspiration from those disciplines.

to be a Jew is to belong to an old harmless race that has lived in every country in the world; and that has enriched every country it has lived in. "It is to be strong with a strength that has outlived persecutions. It is to be wise against ignorance, honest against piracy, harmless against evil, industrious against idleness, kind against cruelty! It is to belong to a race that has given Europe its religion; its moral law; and much of its science-perhaps even more of its genius-in art, literature and music. "This is to be a Jew; and you know now what is required of you! You have no country but the world; and you inherit nothing but wisdom and brotherhood. I do not say there are no bad Jews-userers; cowards; corrupt and unjust persons-but such people are also to be found among Christians. I only say to you this is to be a good Jew. Every Jew has this aim brought before him in his youth. He refuses it at his peril; and at his peril he accepts it.

Psychologists measure personality through what is called the Five Factor Model, or “Big Five” inventory, which assesses who we are across the following dimensions.5 • Neuroticism (sensitive/nervous versus secure/confident) • Extraversion (energetic/gregarious versus solitary/reserved) • Openness (inventive/curious versus consistent/cautious) • Conscientiousness (orderly/industrious versus easygoing/careless) • Agreeableness (cooperative/empathic versus self-interested/antagonistic)

When fear becomes collective, when anger becomes collective, it’s extremely dangerous. It is overwhelming… The mass media and the military-industrial complex create a prison for us, so we continue to think, see, and act in the same way… We need the courage to express ourselves even when the majority is going in the opposite direction… because a change of direction can happen only when there is a collective awakening… Therefore, it is very important to say, ‘I am here!’ to those who share the same kind of insight.

An industrial map in the mid-twentieth century colored New York’s Hudson River black. The mapmakers considered a black river a good thing—full of industry! The more factory outputs, the more progress. When that map was made, “nature” was widely seen as a resource to be exploited. Few people considered the consequences of careless disposal of industrial waste. The culture has shifted dramatically over the last fifty years. When I share this story today, most people shudder and ask how anyone could think of a polluted river as good.   But today we are doing the same thing with the river of culture. Think of the arts and other cultural enterprises as rivers that water the soil of culture. We are painting this cultural river black—full of industry, dominated by commercial interests, careless of toxic byproducts—and there are still cultural mapmakers who claim that this is a good thing. The pollution makes it difficult to for us to breathe, difficult for artists to create, difficult for any of us to see beauty through the murk.

All this was only, in my father's estimation, a means; the end was the Earthly Paradise, the translation of William Morris's 'News from Nowhere' into 'News from Somewhere.' Then Whitman's sense of abounding joy in his own and all creation's sensuality would sweep away the paltry backwaters of bourgeois morality; the horrors of industrial ugliness which Ruskin so eloquently denounced would dissolve, and die forgotten as a dream (phrases from hymns still washed about in my father's mind) as slums were transformed into garden cities, and the belching smoke of hateful furnaces into the cool elegance of electric power. As for the ferocious ravings of my namesake, Carlyle, about the pettifogging nature of modern industrial man's pursuits and expectations -- all that would be corrected as he was induced to spend ever more of his increasing leisure in cultural and craft activities; in the enjoyment of music, literature and art. It was pefectly true -- a point that Will Straughan was liable to bring up at the Saturday evening gatherings -- that on the present form the new citizenry might be expected to have a marked preference for dog-racing over chamber music or readings from 'Paradise Lost,' but, my father would loftily point out, education would change all that. Education was, in fact, the lynchpin of the whole operation; the means whereby the Old Adam of the Saturday night booze-up, and fondness for Marie Lloyd in preference to Beatrice Webb, would be cast off, and the New Man be born as potential fodder for third Programmes yet to come.

Cannes was to blame, he told himself defensively. It was a city made for the indulgence of the senses, all ease and sunshine and provocative flesh. “What had he seen, what had he learned? He had seen all kinds of movies, good and bad, mostly bad. He had been plunged into a carnival, a delirium of film. In the halls, on the terraces, on the beach, at the parties, the art or industry or whatever it deserved to be called in these few days was exposed at its essence. The whole thing was there—the artists and pseudo-artists, the businessmen, the con men, the buyers and sellers, the peddlers, the whores, the pornographers, critics, hangers-on, the year’s heroes, the year’s failures. And then the distillation of what it was all about, a film of Bergman's and one of Bunuel's, pure and devastating.

When I first read The Rebel, this splendid line came leaping from the page like a dolphin from a wave. I memorized it instantly, and from then on Camus was my man. I wanted to write like that, in a prose that sang like poetry. I wanted to look like him. I wanted to wear a Bogart-style trench coat with the collar turned up, have an untipped Gauloise dangling from my lower lip, and die romantically in a car crash. At the time, the crash had only just happened. The wheels of the wrecked Facel Vega were practically still spinning, and at Sydney University I knew exiled French students, spiritually scarred by service in Indochina, who had met Camus in Paris: one of them claimed to have shared a girl with him. Later on, in London, I was able to arrange the trench coat and the Gauloise, although I decided to forgo the car crash until a more propitious moment. Much later, long after having realized that smoking French cigarettes was just an expensive way of inhaling nationalized industrial waste, I learned from Olivier Todd's excellent biography of Camus that the trench coat had been a gift from Arthur Koestler's wife and that the Bogart connection had been, as the academics say, no accident. Camus had wanted to look like Bogart, and Mrs. Koestler knew where to get the kit. Camus was a bit of an actor--he though, in fact, that he was a lot of an actor, although his histrionic talent was the weakest item of his theatrical equipment--and, being a bit of an actor, he was preoccupied by questions of authenticity, as truly authentic people seldom are. But under the posturing agonies about authenticity there was something better than authentic: there was something genuine. He was genuinely poetic. Being that, he could apply two tests simultaneously to his own language: the test of expressiveness, and the test of truth to life. To put it another way, he couldn't not apply them.

Historians, and even common sense, may inform us, that, however specious these ideas of perfect equality may seem, they are really, at bottom, impracticable; and were they not so, would be extremely pernicious to human society. Render possessions ever so equal, men's different degrees of art, care, and industry will immediately break that equality. Or if you check these virtues, you reduce society to the most extreme indigence; and instead of preventing want and beggary in a few, render it unavoidable to the whole community. The most rigorous inquisition too is requisite to watch every inequality on its first appearance; and the most severe jurisdiction, to punish and redress it. But besides, that so much authority must soon degenerate into tyranny, and be exerted with great partialities; who can possibly be possessed of it, in such a situation as is here supposed? Perfect equality of possessions, destroying all subordination, weakens extremely the authority of magistracy, and must reduce all power nearly to a level, as well as property. We may conclude, therefore, that in order to establish laws for the regulation of property, we must be acquainted with the nature and situation of man; must reject appearances, which may be false, though specious; and must search for those rules, which are, on the whole, most useful and beneficial.

If a new movement in art comes along be awake to it, study it, but don’t belong to it. Have a personal humor about things. You will never know your calibre until you have tried yourself. Avoid idle industry. Always leave out the padding. Be venturesome. Try new things that appeal to you. Examine others. Have a pioneer spirit. Prevent your drawing from being common. Put life into it. The way to do this is to see the model, see that the model is great, wonderful—a human creature there before you in the tragedy and comedy of life—then draw.

In fact, the laboratory may be the greatest friend to dumb animals. As science advances, the lives of animals will improve as we depend less and less on their labor and no longer ignore their conditions in order to improve ours. You know, there is much to learn from animals if we are ever to be truly industrial creatures. The beaver is the finest builder of bridges and the silkworm a better weaver than any man or woman. God gave industry perfectly to the caterpillar while we must learn our arts. That is technology--our way to become closer to being like animals.

If tomorrow morning by some stroke of magic every dazed and benighted soul woke up with the power to take the first step toward pursuing his or her dreams, every shrink in the directory would be out of business. Prisons would stand empty. The alcohol and tobacco industries would collapse, along with the junk food, cosmetic surgery, and infotainment businesses, not to mention pharmaceutical companies, hospitals, and the medical profession from top to bottom. Domestic abuse would become extinct, as would addiction, obesity, migraine headaches, road rage, and dandruff.

Let us conclude that savage man, wandering about in the forests, without industry, without speech, without any fixed residence, an equal stranger to war and every social connection, without standing in any shape in need of his fellows, as well as without any desire of hurting them, and perhaps even without ever distinguishing them individually one from the other, subject to few passions, and finding in himself all he wants, let us, I say, conclude that savage man thus circumstanced had no knowledge or sentiment but such as are proper to that condition, that he was alone sensible of his real necessities, took notice of nothing but what it was his interest to see, and that his understanding made as little progress as his vanity. If he happened to make any discovery, he could the less communicate it as he did not even know his children. The art perished with the inventor; there was neither education nor improvement; generations succeeded generations to no purpose; and as all constantly set out from the same point, whole centuries rolled on in the rudeness and barbarity of the first age; the species was grown old, while the individual still remained in a state of childhood.

The ugliest building in Paris is both art and male. It has something to say. It commemorates the centennial of the French Revolution, it shouts France’s industrial competence to the world, it speaks of man’s expertise. The women of France are irrelevant and Eiffel’s tower is unapologetic about that.

Anything you do to optimize your work, cut some corners, or squeeze more “efficiency” out of it (and out of your life) will eventually make you dislike it. Artisans have their soul in the game. Primo, artisans do things for existential reasons first, financial and commercial ones later. Their decision making is never fully financial, but it remains financial. Secundo, they have some type of “art” in their profession; they stay away from most aspects of industrialization; they combine art and business. Tertio, they put some soul in their work: they would not sell something defective or even of compromised quality because it hurts their pride. Finally, they have sacred taboos, things they would not do even if it markedly increased profitability. Compendiaria res improbitas, virtusque tarda—the villainous takes the short road, virtue the longer one. In other words, cutting corners is dishonest.

I wish to make a radical suggestion: because our social system is predicated on the majority of people believing in the fundamental necessity of work, a sharp increase in idleness, absenteeism, laziness, and non-industriousness might be the most effective way to bring about positive social and political change.

A task and also an art or a science must be deemed vulgar if it renders the body or soul or mind of free men useless for the employments and actions of virtue. Hence we entitle vulgar all such arts as deteriorate the condition of the body, and also the industries that earn wages; for they make the mind preoccupied and degraded.

James O. Incandenza - A Filmography The following listing is as complete as we can make it. Because the twelve years of Incadenza'a directorial activity also coincided with large shifts in film venue - from public art cinemas, to VCR-capable magnetic recordings, to InterLace TelEntertainment laser dissemination and reviewable storage disk laser cartridges - and because Incadenza's output itself comprises industrial, documentary, conceptual, advertorial, technical, parodic, dramatic non-commercial, nondramatic ('anti-confluential') noncommercial, nondramatic commercial, and dramatic commercial works, this filmmaker's career presents substantive archival challenges. These challenges are also compounded by the fact that, first, for conceptual reasons, Incadenza eschewed both L. of C. registration and formal dating until the advent of Subsidized Time, secondly, that his output increased steadily until during the last years of his life Incadenza often had several works in production at the same time, thirdly, that his production company was privately owned and underwent at least four different changes of corporate name, and lastly that certain of his high-conceptual projects' agendas required that they be titled and subjected to critique but never filmed, making their status as film subject to controversy.

You can be an anonymous observer all your life, but then you never get the platform to transform those observations into art, or whatever it is you want to transform it into. And that’s a lamentable paradox, because it’s the reason the entertainment industry is so hermetic. It closes itself off from the world it wants to talk about.

This river is famed in atrocious song and verse; the most prevalent motif is one which attempts to make of the river an ersatz father figure. Actually, the Mississippi River is a treacherous and sinister body of water whose eddies and currents yearly claim many lives. I have never known anyone who would even venture to stick his toe in its polluted waters, which seethe with sewage, industrial waste, and deadly insecticides. Even the fish are dying. Therefore, the Mississippi as Father-God-Moses-Daddy-Phallus-Pops is an altogether false motif began, I would imagine, by that dreary fraud, Mark Twain. This failure to make contact with reality is, however, characteristic of almost all of America’s “art.” Any connection between American art and American nature is purely coincidental, but this is only because the nation as a whole has no contact with reality. That is only one of the reasons why I have always been forced to exist on the fringes of its society, consigned to the Limbo reserved for this who do know reality when they see it.

So all that fame had lasted less than a hundred years! Les Orientales, Les Meditations, La Comedie Humaine - forgotten, lost, unknown! Yet here were huge crates of books which giant steam cranes were unloading in the courtyards, and buyers were crowding around the purchase desk. But one of them was asking for 'Stress Theory' in twenty volumes, another for an 'Abstract of Electric Problems', this one for 'A Practical Treatise for the Lubrication of Driveshafts', and that one for the latest 'Monograph on Cancer of the Brain'. 'How strange!' mused Michel. 'All of science and industry here, just as at school, nothing for art!' I must sound like a madman asking for literary works here - am I insane?

I think of something I read about Sargent: how in portraiture, Sargent always looked for the animal in the sitter (a tendency that, once I knew to look for it, I saw everywhere in his work: in the long foxy noses and pointed ears of Sargent’s heiresses, in his rabbit-toothed intellectuals and leonine captains of industry, his plump, owl-faced children).

The espousal of the doctrine of Negro inferiority by the South was primarily because of economic motives and the inter-connected political urge necessary to support slave industry; but to the watching world it sounded like the carefully thought out result of experience and reason; and because of this it was singularly disastrous for modern civilization science and religion, in art and government, as well as in industry. The South could say that the Negro, even when brought into modern civilization, could not be civilized, and that, therefore, he and the other colored peoples of the world were so far inferior to the whites that the white world had a right to rule mankind for their own selfish interests.

I've no interest in this city. I do not want to live in a curio, Johannes. This is a sideshow! This is something to scare the children! 'The Floating Pirate City'! I don't want it! I don't want to live in this great bobbing parasite, like some fucking pondskater sucking the victims dry. This isn't a city, Johannes; it's a parochial little village less than a mile wide, and I do not want it. "I was always going to return to New Crobuzon. I would never wish to see out my days outside it. It's dirty and cruel and difficult and dangerous—particularly for me, particularly now—but it's my home. Nowhere else in the world has the culture, the industry, the population, the thaumaturgy, the languages, the art, the books, the politics, the history … New Crobuzon," she said slowly, "is the greatest city in Bas-Lag." And coming from her, someone without any illusions about New Crobuzon's brutality, or squalor, or repression, the declamation was far more powerful than if it came from any Parliamentarian. "And you're telling me," she said finally, "that I've been exiled from my city—for life—because of you?

Art with a big “A” is for museums, galleries, critics, and collectors. art with a small “a” is for the rest of us. Art is a business, an industry, a racket. art is about passion, love, life, humanity— everything that is truly valuable. Art is sold, resold, put under the gavel, and insured up the wazoo. art with a small “a” is not a product. It’s a point of view. It’s a way of life. Art is made by trained professionals and experts. art is made by accountants, farmers, and stay-at-home moms at restaurant tables, in parking lots, and laundry rooms. Art takes Art School and Talent and years of Suffering and Sacrifice. art just takes desire and 15 minutes a day. You may not be an Artist. Big whoop. But I know you can make art— with a wonderful, expressive, teeny, tiny a.

God created all things and is interested in all things. All truth, then, is God’s truth, and all areas of learning and all ethical jobs are legitimate areas of service to him and are part of what goes into building his kingdom. We must develop a kingdom perspective on our work in every sector of the economy, whether manufacturing, service industries, business, finance, education, health care, arts, or media. On a social level, we need to provide meaningful work for others and seek to eliminate drudgery as much as possible, and so to affirm the dignity of the people around us. We also have the right to enjoy the fruits of our labor. Government has its legitimate functions and can collect taxes for those purposes, but we should be permitted to keep the bulk of what we earn.

In this age, which believes that there is a short cut to everything, the greatest lesson to be learned is that the most difficult way is, in the long run, the easiest. All that is set forth in books, all that seems so terribly vital and significant, is but an iota of that from which it stems and which it is within everyone’s power to tap. Our whole theory of education is based on the absurd notion that we must learn to swim on land before tackling the water. It applies to the pursuit of the arts as well as to the pursuit of knowledge. Men are still being taught to create by studying other men’s works or by making plans and sketches never intended to materialize. The art of writing is taught in the classroom instead of in the thick of life. Students are still being handed models which are supposed to fit all temperaments, all kinds of intelligence. No wonder we produce better engineers than writers, better industrial experts than painters. My encounters with books I regard very much as my encounters with other phenomena of life or thought. All encounters are configurate, not isolate. In this sense, and in this sense only, books are as much a part of life as trees, stars or dung. I have no reverence for them per se. Nor do I put authors in any special, privileged category. They are like other men, no better, no worse. They exploit the powers given them, just as any other order of human being. If I defend them now and then — as a class — it is because I believe that, in our society at least, they have never achieved the status and the consideration they merit. The great ones, especially, have almost always been treated as scapegoats.

A prohibition on the hoarding or possession of gold was integral to the plan to devalue the dollar against gold and get people spending again. Against this background, FDR issued Executive Order 6102 on April 5, 1933, one of the most extraordinary executive orders in U.S. history. The blunt language over the signature of Franklin Delano Roosevelt speaks for itself: I, Franklin D. Roosevelt . . . declare that [a] national emergency still continues to exist and . . . do hereby prohibit the hoarding of gold coin, gold bullion, and gold certificates within the . . . United States by individuals, partnerships, associations and corporations.... All persons are hereby required to deliver, on or before May 1, 1933, to a Federal reserve bank . . . or to any member of the Federal Reserve System all gold coin, gold bullion and gold certificates now owned by them.... Whoever willfully violates any provision of this Executive Order . . . may be fined not more than $10,000 or . . . may be imprisoned for not more than ten years. The people of the United States were being ordered to surrender their gold to the government and were offered paper money at the exchange rate of $20.67 per ounce. Some relatively minor exceptions were made for dentists, jewelers and others who made “legitimate and customary” use of gold in their industry or art. Citizens were allowed to keep $100 worth of gold, about five ounces at 1933 prices, and gold in the form of rare coins. The $10,000 fine proposed in 1933 for those who continued to hoard gold in violation of the president’s order is equivalent to over $165,000 in today’s money, an extraordinarily large statutory fine. Roosevelt followed up with a

Under the seeming disorder of the old city, wherever the old city is working successfully, is a marvelous order for maintaining the safety of the streets and the freedom of the city. It is a complex order. Its essence is intricacy of sidewalk use, bringing with it a constant succession of eyes. This order is all composed of movement and change, and although it is life, not art, we may fancifully call it the art form of the city and liken it to the dance — not to a simple-minded precision dance with everyone kicking up at the same time, twirling in unison and bowing off en masse, but to an intricate ballet in which the individual dancers and ensembles all have distinctive parts which miraculously reinforce each other and compose an orderly whole. The ballet of the good city sidewalk never repeats itself from place to place, and in any once place is always replete with new improvisations. The stretch of Hudson Street where I live is each day the scene of an intricate sidewalk ballet. I make my own first entrance into it a little after eight when I put out my garbage gcan, surely a prosaic occupation, but I enjoy my part, my little clang, as the junior droves of junior high school students walk by the center of the stage dropping candy wrapper. (How do they eat so much candy so early in the morning?) While I sweep up the wrappers I watch the other rituals of the morning: Mr Halpert unlocking the laundry's handcart from its mooring to a cellar door, Joe Cornacchia's son-in-law stacking out the empty crates from the delicatessen, the barber bringing out his sidewalk folding chair, Mr. Goldstein arranging the coils of wire which proclaim the hardware store is open, the wife of the tenement's super intendent depositing her chunky three-year-old with a toy mandolin on the stoop, the vantage point from which he is learning English his mother cannot speak. Now the primary childrren, heading for St. Luke's, dribble through the south; the children from St. Veronica\s cross, heading to the west, and the children from P.S 41, heading toward the east. Two new entrances are made from the wings: well-dressed and even elegant women and men with brief cases emerge from doorways and side streets. Most of these are heading for the bus and subways, but some hover on the curbs, stopping taxis which have miraculously appeared at the right moment, for the taxis are part of a wider morning ritual: having dropped passengers from midtown in the downtown financial district, they are now bringing downtowners up tow midtown. Simultaneously, numbers of women in housedresses have emerged and as they crisscross with one another they pause for quick conversations that sound with laughter or joint indignation, never, it seems, anything in between. It is time for me to hurry to work too, and I exchange my ritual farewell with Mr. Lofaro, the short, thick bodied, white-aproned fruit man who stands outside his doorway a little up the street, his arms folded, his feet planted, looking solid as the earth itself. We nod; we each glance quickly up and down the street, then look back at eachother and smile. We have done this many a morning for more than ten years, and we both know what it means: all is well. The heart of the day ballet I seldom see, because part off the nature of it is that working people who live there, like me, are mostly gone, filling the roles of strangers on other sidewalks. But from days off, I know enough to know that it becomes more and more intricate. Longshoremen who are not working that day gather at the White Horse or the Ideal or the International for beer and conversation. The executives and business lunchers from the industries just to the west throng the Dorgene restaurant and the Lion's Head coffee house; meat market workers and communication scientists fill the bakery lunchroom.

Food has become remarkably inefficient, and the pill-promoting futurists of the 1960s would be astonished to see how wrong they were. People spend hours preparing it, eating it and watching television programmes about it. People cherish local ingredients, and willingly pay a premium for foods produced without chemical fertilisers. By contrast, when we made the food industry logical, we lost sight of the reasons we value food at all.

IF THERE IS A FUNDAMENTAL difference between rivalry in the modern era and rivalry in earlier epochs, as I believe there is, it is that in the modern era artists developed a wholly different conception of greatness. It was a notion based not on the old, established conventions of mastering and extending a pictorial tradition, but on the urge to be radically, disruptively original. Where did this urge come from? It was a response, most basically, to the new conditions of life—to a sense that modern, industrialized, urban society, although in some ways representing a pinnacle of Western civilization, had also foreclosed on certain human possibilities. Modernity, many began to feel, had shut off the possibility of forging a deeper connection with nature and with the riches of spiritual and imaginative life. The world, as Max Weber wrote, had become disenchanted. Hence

At first Christ was a man – nothing more. Mary was his mother, Joseph his father. The genealogy of his father, Joseph, was given to show that he was of the blood of David. Then the claim was made that he was the son of God, and that his mother was a virgin, and that she remained a virgin until her death. The claim was made that Christ rose from the dead and ascended bodily to heaven. It required many years for these absurdities to take possession of the minds of men. If he really ascended, why did he not do so in public, in the presence of his persecutors? Why should this, the greatest of miracles, be done in secret, in a corner? Is Christ our example? He never said a word in favor of education. He never even hinted at the existence of any science. He never uttered a word in favor of industry, economy or of any effort to better our condition in this world. He was the enemy of the successful, of the wealthy. Dives was sent to hell, not because he was bad, but because he was rich. Lazarus went to heaven, not because he was good, but because he was poor. Christ cared nothing for painting, for sculpture, for music – nothing for any art. He said nothing about the duties of nation to nation, of king to subject; nothing about the rights of man; nothing about intellectual liberty or the freedom of speech. He said nothing about the sacredness of home; not one word for the fireside; not a word in favor of marriage, in honor of maternity. He never married. He wandered homeless from place to place with a few disciples. None of them seem to have been engaged in any useful business, and they seem to have lived on alms. All human ties were held in contempt; this world was sacrificed for the next; all human effort was discouraged. God would support and protect. At last, in the dusk of death, Christ, finding that he was mistaken, cried out: “My God! My God! Why hast thou forsaken me? We have found that man must depend on himself. He must clear the land; he must build the home; he must plow and plant; he must invent; he must work with hand and brain; he must overcome the difficulties and obstructions; he must conquer and enslave the forces of nature to the end that they may do the work of the world.

In airplane crashes and chemical industry accidents, in the infrequent but serious nuclear plant accidents, in the NASA Challenger and Columbia disasters, and in the British Petroleum gulf spill, a common finding is that lower-ranking employees had information that would have prevented or lessened the consequences of the accident, but either it was not passed up to higher levels, or it was ignored, or it was overridden. When I talk to senior managers, they always assure me that they are open, that they want to hear from their subordinates, and that they take the information seriously. However, when I talk to the subordinates in those same organizations, they tell me either they do not feel safe bringing bad news to their bosses or they’ve tried but never got any response or even acknowledgment, so they concluded that their input wasn’t welcome and gave up. Shockingly often, they settled for risky alternatives rather than upset their bosses with potentially bad news. When I look at what goes on in hospitals, in operating rooms, and in the health care system generally, I find the same problems of communication exist and that patients frequently pay the price. Nurses and technicians do not feel safe bringing negative information to doctors or correcting a doctor who is about to make a mistake. Doctors will argue that if the others were “professionals” they would speak up, but in many a hospital the nurses will tell you that doctors feel free to yell at nurses in a punishing way, which creates a climate where nurses will certainly not speak up. Doctors engage patients in one-way conversations in which they ask only enough questions to make a diagnosis and sometimes make misdiagnoses because they don’t ask enough questions before they begin to tell patients what they should do.

Man, attracted by the treasure that the victory over the whale might afford him, has troubled the peace of their immense solitary abodes, violated their refuges, sacrificed all those which the icy, unapproachable polar deserts could not screen from his blow; and the war he has had made on them has been especially cruel because he has seen that it is large catches that make his commerce prosperous, his industry vital, his sailors numerous, his navigators daring, his pilots experienced, his navies strong and his power great. Thus it is that these giants among giants have fallen beneath his arms; and because his genius is immortal and his science now imperishable, because he has been able to multiply without limit the imaginings of his mind, they will not cease to be the victims of his interest until they have ceased to exist. In vain do they flee before him; his art will transport him to the ends of the earth; they find no sanctuary except in nothingness.

You could have chosen any number of career paths, but this one is exciting. It’s creative. It requires deep thinking and rewards you with a sense of being able to do something that most of the people you meet each day can’t imagine being able to do. We may worry about progressing to the next level, making an impact, or gaining respect from our co-workers or our peers in the industry, but if you really stop to think about it, we’ve got it really good. Software development is both challenging and rewarding. It’s creative like an art-form, but (unlike art) it provides concrete,measurable value. Software development is fun! Ultimately, the most important thing I’ve learned over the journey that my career in software development has been is that it’s not what you do for a living or what you have that’s important. It’s how you choose to accept these things. It’s internal. Satisfaction, like our career choices, is something that should be sought after and decided upon with intention.

The new type of capitalists - the industrial leader - develops new talents with his new function in economic life and, above all, a new discipline and evaluation of labour. He allows commercial interests to recede to a certain extent and concentrates on the internal organization of his factory. The principle of expediency, methodical planning and calculability, which had become very important in the economy in the leading countries since the fifteenth century, now becomes all-powerful. The employer disciplines himself just as ruthless as he does his workmen and employees, and becomes just as much the slave of his concern as his staff. The raising of labour to the level of the ethical force, its glorification and adoration, is fundamentally nothing but the ideological transfiguration of the striving for success and profit and an attempt to stimulate even those elements who share least in the fruits of their labour into enthusiastic co-operation. The idea of freedom is part of the same ideology.

If nature has been frugal in her gifts and endowments, there is the more need of art to supply her defects. If she has been generous and liberal, know that she still expects industry and application on our part, and revenges herself in proportion to our negligent ingratitude. The richest genius, like the most fertile soil, when uncultivated, shoots up into the rankest weeds; and instead of vines and olives for the pleasure and use of man, produces, to its slothful owner, the most abundant crop of poisons.

True creativity will always seek to solve a problem and present the move effective solution for the task at hand. That is why I would be very careful to call something creative (and art) when it is frivolous, vain, and without any problem-solving element. Everything else in the universe has a plan and purpose (Psalm 104:19; Jeremiah 29:11). How did it happen that we began to exalt "chasing-after-the-wind" creativity (adapted from Ecclesiastes 1:14), praising art and fashion simply for themselves. And how is this not idolatry?

Originality is a fetish of the people who want to control the art market and the publishing industry. It’s also a fetich of academics, particularly the males and the old farts. What I was really interested in was the sweating workers in the Chinese villages. It was their lives, their anonymity, their way of looking at western classics, and their purely pragmatic attitude. I love being with those artisans and feeling their energy and their lack of self consciousness. They were not precise in any way about their works, or about their life, but they were full of heart. And at the same time they were not clinging to their achievements. They are part of the flow of life. I have come from the same culture, but I feel I cannot make this clear, or make westerners understand. The western language and mentality did not allow me to do it. I feel I could do that in England but not here in America, where I feel I’m second class citizen not because people don’t understand Chinese culture (there are so many of us), but even after they understood it, they still decided to think we are second class citizen.

I’ll give you an example. In my many years in the entertainment industry, I’ve been around some amazing artists, in particular some of the greatest rappers of all time. Now, rapping might not be an art form that people associate with calmness and stillness, but I can tell you that from LL Cool J to Chuck D to Biggie Smalls to Jay Z, one trait that all those great artists share is an ability to operate out of stillness. There are a lot of rappers who worked as hard as those guys, but very few were able to dip into that well of creativity like they were.

Only imagination and belief can differentiate certain objects and people from the rest, and create a particular atmosphere. Alas, those picturesque sites, those natural features, those local curiosities and works of art of the Faubourg Saint-Germain would doubtless remain forbidden territory to me. So I made do with a twitch of excitement as I sighted from the open sea (without the least hope of ever landing), like a prominent minaret, like the first palm tree, like the first signs of exotic industry and vegetation, the well-trodden doormat of its shore.

Après avoir poussé dans leurs débuts des maîtres contemporains, le marchand de tableaux, homme de progrès, avait tâché, tout en conservant des allures artistiques, d’étendre ses profits pécuniaires. Il recherchait l’émancipation des arts, le sublime à bon marché. Toutes les industries du luxe parisien subirent son influence, qui fut bonne pour les petites choses, et funeste pour les grandes. Avec sa rage de flatter l’opinion, il détourna de leur voie les artistes habiles, corrompit les forts, épuisa les faibles et illustra les médiocres ; il en disposait par ses relations et par sa revue.

Wisdom and knowledge, as well as virtue, diffused generally among the body of the people being necessary for the preservation of their rights and liberties; and as these depend on spreading the opportunities and advantages of education in various parts of the country, and among the different orders of the people, it shall be the duty of legislators and magistrates in all future periods of this commonwealth to cherish the interests of literature and the sciences, and all seminaries of them, especially the university at Cambridge, public schools, and grammar schools in the towns; to encourage private societies and public institutions, rewards and immunities, for the promotion of agriculture, arts, sciences, commerce, trades, manufactures, and a natural history of the country; to countenance and inculcate the principles of humanity and general benevolence, public and private charity, industry and frugality, honesty and punctuality in their dealings, sincerity, good humor, and all social affections, and generous sentiments among the people.   “It was, in all,” writes McCullough, “a declaration of Adams’s faith in education as the bulwark of the good society, the old abiding faith of his Puritan forebears.

The dignity and energy of the Roman character, conspicuous in war and in politics, were not easily tamed and adjusted to the arts of industry and literature. The degenerate and pliant Greeks, on the contrary, excelled in the handicraft and polite professions. We learn from the vigorous invective of Juvenal that they were the most useful and capable of servants, whether as pimps or professors of rhetoric. Obsequious, dextrous and ready, the versatile Greeks monopolized the business of teaching, publishing and manufacturing in the Roman Empire, allowing their masters ample leisure for the service of the State, in the Senate or on the field.

We cannot pick and choose whom among the oppressed it is convenient to support. We must stand with all the oppressed or none of the oppressed. This is a global fight for life against corporate tyranny. We will win only when we see the struggle of working people in Greece, Spain, and Egypt as our own struggle. This will mean a huge reordering of our world, one that turns away from the primacy of profit to full employment and unionized workplaces, inexpensive and modernized mass transit, especially in impoverished communities, universal single-payer health care and a banning of for-profit health care corporations. The minimum wage must be at least $15 an hour and a weekly income of $500 provided to the unemployed, the disabled, stay-at-home parents, the elderly, and those unable to work. Anti-union laws, like the Taft-Hartley Act, and trade agreements such as NAFTA, will be abolished. All Americans will be granted a pension in old age. A parent will receive two years of paid maternity leave, as well as shorter work weeks with no loss in pay and benefits. The Patriot Act and Section 1021 of the National Defense Authorization Act, which permits the military to be used to crush domestic unrest, as well as government spying on citizens, will end. Mass incarceration will be dismantled. Global warming will become a national and global emergency. We will divert our energy and resources to saving the planet through public investment in renewable energy and end our reliance on fossil fuels. Public utilities, including the railroads, energy companies, the arms industry, and banks, will be nationalized. Government funding for the arts, education, and public broadcasting will create places where creativity, self-expression, and voices of dissent can be heard and seen. We will terminate our nuclear weapons programs and build a nuclear-free world. We will demilitarize our police, meaning that police will no longer carry weapons when they patrol our streets but instead, as in Great Britain, rely on specialized armed units that have to be authorized case by case to use lethal force. There will be training and rehabilitation programs for the poor and those in our prisons, along with the abolition of the death penalty. We will grant full citizenship to undocumented workers. There will be a moratorium on foreclosures and bank repossessions. Education will be free from day care to university. All student debt will be forgiven. Mental health care, especially for those now caged in our prisons, will be available. Our empire will be dismantled. Our soldiers and marines will come home.

As I rode back to Detroit, a vision of Henry Ford's industrial empire kept passing before my eyes. In my ears, I heard the wonderful symphony which came from his factories where metals were shaped into tools for men's service. It was a new music, waiting for the composer with genius enough to give it communicable form. I thought of the millions of different men by whose combined labor and thought automobiles were produced, from the miners who dug the iron ore out of the earth to the railroad men and teamsters who brought the finished machines to the consumer, so that man, space, and time might be conquered, and ever-expanding victories be won against death.

For nearly eight centuries, under her Mohammedan rulers, Spain set to all Europe a shining example of a civilized and enlightened State. Her fertile provinces, rendered doubly prolific by the industry and engineering skill of her conquerors, bore fruit an hundredfold. Cities innumerable sprang up in the rich valleys of the Guadelquivir and the Guadiana, whose names, and names only, still commemorate the vanished glories of their past. Art, literature, and science prospered, as they then prospered nowhere else in Europe. Students flocked from France and Germany and England to drink from the fountain of learning which flowed only in the cities of the Moors. The surgeons and doctors of Andalusia were in the van of science: women were encouraged to devote themselves to serious study, and the lady doctor was not unknown among the people of Cordova. Mathematics, astronomy and botany, history, philosophy and jurisprudence were to be mastered in Spain, and Spain alone. The practical work of the field, the scientific methods of irrigation, the arts of fortification and shipbuilding, the highest and most elaborate products of the loom, the graver and the hammer, the potter's wheel and the mason's trowel, were brought to perfection by the Spanish Moors. In the practice of war no less than in the arts of peace they long stood supreme.

Now sensitiveness to the state of mind of the public is a difficult thing to achieve or maintain. Any man can tell you with more or less accuracy and clearness his own reactions on any particular issue. But few men have the time or the interest or the training to develop a sense of what other persons think or feel about the same issue. In his own profession the skilled practitioner is sensitive and understanding. lhe lawyer can tell what argument will appeal to court or jury. “The salesman can tell what points to stress to his prospective buyers. The politician can tell what to emphasize to his audience, but the ability to estimate group reactions on a large scale over a wide geographic and psychological area is a specialized ability which must be developed with the same painstaking self-criticism and with the same dependence on experience that are required for the development of the clinical sense in the doctor or the surgeon. The significant revolution of modern times is not industrial or economic or political, but the revolution which is taking place in the art of creating consent among the governed. Within the life of the new generation now in control of affairs, persuasion has become a self-conscious art and a regular organ of popular government. None of us begins to understand the consequences, but it is no daring prophecy to say that the knowledge of how to create consent will alter every political premise. Under the impact of propaganda, not necessarily in the sinister meaning of the world alone, the only constants of our thinking have become variables. It is no longer possible, for example, to believe in the cardinal dogma of democracy that the knowledge needed for the management of human affairs comes up spontaneously from the human heart. Where we act on that theory we expose ourselves to self-deception and to farms of persuasion that we cannot verify. It has been demonstrated that we cannot rely upon intuition, conscience or the accidents of casual opinion if we are to deal with the world beyond our reach.

To eat responsibly is to understand and enact, so far as one can, this complex relationship. What can one do? Here is a list, probably not definitive: 1. Participate in food production to the extent that you can. If you have a yard or even just a porch box or a pot in a sunny window, grow something to eat in it. Make a little compost of your kitchen scraps and use it for fertilizer. Only by growing some food for yourself can you become acquainted with the beautiful energy cycle that revolves from soil to seed to flower to fruit to food to offal to decay, and around again. You will be fully responsible for any food that you grow for yourself, and you will know all about it. You will appreciate it fully, having known it all its life. 2. Prepare your own food. This means reviving in your own mind and life the arts of kitchen and household. This should enable you to eat more cheaply, and it will give you a measure of “quality control”: You will have some reliable knowledge of what has been added to the food you eat. 3. Learn the origins of the food you buy, and buy the food that is produced closest to your home. The idea that every locality should be, as much as possible, the source of its own food makes several kinds of sense. The locally produced food supply is the most secure, the freshest, and the easiest for local consumers to know about and to influence. 4. Whenever possible, deal directly with a local farmer, gardener, or orchardist. All the reasons listed for the previous suggestion apply here. In addition, by such dealing you eliminate the whole pack of merchants, transporters, processors, packagers, and advertisers who thrive at the expense of both producers and consumers. 5. Learn, in self-defense, as much as you can of the economy and technology of industrial food production. What is added to food that is not food, and what do you pay for these additions? 6. Learn what is involved in the best farming and gardening. 7. Learn as much as you can, by direct observation and experience if possible, of the life histories of the food species. The

Most of us are still in some small way victims of the Industrial Revolution. Whether through our grandparents, our parents, or our own experience, we were raised to believe that our place in life required compliance and conformity rather than creativity and uniqueness. We have been raised in a world where information is deemed far more important than imagination. Adults replaced dreams with discipline when they were finally ready to grow up and be responsible for their lives. Whether this contrast was reinforced on an assembly line, in a cubicle, or in a classroom, the surest path to acceptance in society is accepting standardization. And we more than willingly, relinquish our uniqueness.

Hereby it is manifest that during the time men live without a common power to keep them all in awe, they are in that condition which is called war; and such a war is of every man against every man . . . In such condition there is no place for industry, because the fruit thereof is uncertain: and consequently no culture of the earth; no navigation, nor use of the commodities that may be imported by sea; no commodious building; no instruments of moving and removing such things as require much force; no knowledge of the face of the earth; no account of time; no arts; no letters; no society; and which is worst of all, continual fear, and danger of violent death; and the life of man, solitary, poor, nasty, brutish, and short.

So what do I mean by modernity? The modern world derives its distinctive characteristics from the transformation of traditional societies initiated by the rise of modern industrial capitalism in mid-eighteenth-century Protestant Europe and America, which was itself preceded by some 250 to 300 years of witting and unwitting cultural spadework in religion, art, science, commerce, and colonization. One consequence of the rise of industrial capitalism—epitomized by Adam Smith, Karl Marx, and Max Weber, and today de rigueur—has been an acute and increasingly sophisticated attention to economic behavior, indeed to economic interest seen as not only a determinant of human action but in many modern theories as the determinant of human action.

Homer is universally allowed to have had the greatest Invention of any writer whatever. The praise of judgment Virgil has justly contested with him, and others may have their pretensions as to particular excellencies; but his invention remains yet unrivalled. Nor is it a wonder if he has ever been acknowledged the greatest of poets, who most excelled in that which is the very foundation of poetry. It is the invention that in different degrees distinguishes all great geniuses: the utmost stretch of human study, learning, and industry, which masters everything besides, can never attain to this. It furnishes Art with all her materials, and without it, judgment itself can at best but steal wisely: for Art is only like a prudent steward, that lives on managing the riches of Nature. Whatever praises may be given to works of judgment, there is not even a single beauty in them but is owing to the invention: as in the most regular gardens, however Art may carry the greatest appearance, there is not a plant or flower but is the gift of Nature. The first can only reduce the beauties of the latter into a more obvious figure, which the common eye may better take in, and is therefore more entertained with them. And perhaps the reason why most critics are inclined to prefer a judicious and methodical genius to a great and fruitful one, is, because they find it easier for themselves to pursue their observations through an uniform and bounded walk of Art, than to comprehend the vast and various extent of Nature.

His first decision was to return to Rome without knowing who was in charge or how he’d be received. The stakes skyrocketed when he learned, after landing near Brundisium, that Caesar’s will had made him an heir and—by adoption—a son. He reached the capital as Caius Julius Caesar Octavianus, 9 and out of respect for their martyred leader the legions he encountered took his new status seriously. Octavian could have blown the opportunity by coming across as a twerp. But he saw the difference, even then, between inheriting a title and mastering the art of command. The first can happen overnight. The second can take a lifetime. Octavian never explained how he learned this, but with the privilege of closely observing the greatest of all commanders, he’d had to have been a blockhead not to pick up something. Sun Tzu, untranslated in Europe for another eighteen centuries, suggests what it might have been: If wise, a commander is able to recognize changing circumstances and to act expediently. If sincere, his men will have no doubt of the certainty of rewards and punishments. If humane, he loves mankind, sympathizes with others, and appreciates their industry and toil. If courageous, he gains victory by seizing opportunity without hesitation. If strict, his troops are disciplined because they are in awe of him and are afraid of punishment. 10 Caesar, in turn, appears never to have explained to Octavian why he was being taught. 11 That spared him the hang-ups of knowing he’d be son, heir, and commander. Rome’s Chiron tethered a student who had little sense of being tethered. The constraint conveyed instruction and liberation.

Necessary because it could not be suppressed, this role of poverty was necessary too because it made wealth possible. Because they labor and consume little, those who are in need permit a nation to enrich itself, to set a high value on its fields, its colonies, and its mines, to manufacture products which will be sold the world over; in short, a people would be poor which had no paupers. Indigence becomes an indispensable element in the State. In it is concealed the secret but also the real life of a society. The poor constitute the basis and the glory of nations. And their poverty, which cannot be suppressed, must be exalted and revered: "My purpose is merely to attract a share of that vigilant attention [that of the government] to the suffering portion of the People...; the succor it is owed derives essentially from the honor and the prosperity of an Empire, of which the Poor are everywhere the firmest support, for a sovereign cannot preserve and extend his realm without favoring the population, the cultivation of the Land, the Arts, and commerce; and the Poor are the necessary agents of these great powers which establish the true strength of a People." Here is an entire moral rehabilitation of the Pauper, which designates, at a deeper level, a social and economic reintegration of his role and character. In the mercantilist economy, the Pauper, being neither producer nor consumer, had no place: idle, vagabond, unemployed, he belonged only to confinement, a measure by which he was exiled and as it were abstracted from society. With the nascent industry which needs manpower, he once again plays a part in the body of the nation.

Richard Lovelace makes a compelling case that the best defense is a good offense. “The ultimate solution to cultural decay is not so much the repression of bad culture as the production of sound and healthy culture,” he writes. “We should direct most of our energy not to the censorship of decadent culture, but to the production and support of healthy expressions of Christian and non-Christian art.”10 Public protests and boycotts have their place. But even negative critiques are effective only when motivated by a genuine love for the arts. The long-term solution is to support Christian artists, musicians, authors, and screenwriters who can create humane and healthy alternatives that speak deeply to the human condition. Exploiting “Talent” The church must also stand against forces that suppress genuine creativity, both inside and outside its walls. In today’s consumer culture, one of the greatest dangers facing the arts is commodification. Art is treated as merchandise to market for the sake of making money. Paintings are bought not to exhibit, nor to grace someone’s home, but merely to resell. They are financial investments. As Seerveld points out, “Elite art of the New York school or by approved gurus such as Andy Warhol are as much a Big Business today as the music business or the sports industry.”11 Artists and writers have been reduced to “talent” to be plugged into the manufacturing process. That approach may increase sales, but it will suppress the best and highest forms of art. In the eighteenth century, the world nearly lost the best of Mozart’s music because the adults in the young man’s life treated him primarily as “talent” to exploit.

Conceive a world-society developed materially far beyond the wildest dreams of America. Unlimited power, derived partly from the artificial disintegration of atoms, partly from the actual annihilation of matter through the union of electrons and protons to form radiation, completely abolished the whole grotesque burden of drudgery which hitherto had seemed the inescapable price of civilization, nay of life itself. The vast economic routine of the world-community was carried on by the mere touching of appropriate buttons. Transport, mining, manufacture, and even agriculture were performed in this manner. And indeed in most cases the systematic co-ordination of these activities was itself the work of self-regulating machinery. Thus, not only was there no longer need for any human beings to spend their lives in unskilled monotonous labour, but further, much that earlier races would have regarded as highly skilled though stereotyped work, was now carried on by machinery. Only the pioneering of industry, the endless exhilarating research, invention, design and reorganization, which is incurred by an ever-changing society, still engaged the minds of men and women. And though this work was of course immense, it could not occupy the whole attention of a great world-community. Thus very much of the energy of the race was free to occupy itself with other no less difficult and exacting matters, or to seek recreation in its many admirable sports and arts. Materially every individual was a multi-millionaire, in that he had at his beck and call a great diversity of powerful mechanisms; but also he was a penniless friar, for he had no vestige of economic control over any other human being. He could fly through the upper air to the ends of the earth in an hour, or hang idle among the clouds all day long. His flying machine was no cumbersome aeroplane, but either a wingless aerial boat, or a mere suit of overalls in which he could disport himself with the freedom of a bird. Not only in the air, but in the sea also, he was free. He could stroll about the ocean bed, or gambol with the deep-sea fishes. And for habitation he could make his home, as he willed, either in a shack in the wilderness or in one of the great pylons which dwarfed the architecture even of the American age. He could possess this huge palace in loneliness and fill it with his possessions, to be automatically cared for without human service; or he could join with others and create a hive of social life. All these amenities he took for granted as the savage takes for granted the air which he breathes. And because they were as universally available as air, no one craved them in excess, and no one grudged another the use of them.

seems astonishing now, but the predictions of the future I read as a child assumed that meals would be replaced by parcels of nutrients consumed in handy tablet form – it was for some reason thought that the purpose of food was to provide the necessary minerals, vitamins, protein and energy, and that the job of the food industry was to supply them in as efficient a form possible. Some forward-thinking people had defined food’s function narrowly, in order to create a rational model of what the food industry should do.* In this focus on scale and efficiency, people lost sight of what food is for; while it is, of course, a form of nourishment, it also serves a host of other ends. The proponents of delivering food in pill form had lost sight of the fact that it is enjoyable to eat and a necessary prop at social occasions.* Even if such pills could be produced, it is perfectly plausible that people who ate only such food would be utterly miserable.

Passing alone to those realms The object erst of thine exalted thought, I would rise to infinity: then I would compass the skill Of industries and arts equal to the objects. [18] There would I be reborn: there on high I would foster for thee Thy fair offspring, now that at length cruel Destiny hath run her whole course Against the enterprise whereby I was wont to withdraw to thee. Fly not from me, for I yearn for a nobler refuge That I may rejoice in thee. And I shall have as guide A god called blind by the unseeing. May Heaven deliver thee, and every emanation Of the great Architect be ever gracious unto thee: But turn thou not to me unless thou art mine. Escaped from the narrow murky prison Where for so many years error held me straitly, Here I leave the chain that bound me And the shadow of my fiercely malicious foe Who can [19] force me no longer to the gloomy dusk of night. For he who hath overcome the great Python [20] With whose blood he hath dyed the waters of the sea Hath put to flight the Fury that pursued me. [21] To thee I turn, I soar, O my sustaining Voice; I render thanks to thee, my Sun, my divine Light, For thou hast summoned me from that horrible torture, [22] Thou hast led me to a goodlier tabernacle; [23] Thou hast brought healing to my bruised heart. Thou art my delight and the warmth of my heart; [24] Thou makest me without fear of Fate or of Death; Thou breakest the chains and bars Whence few come forth free. Seasons, years, months, days and hours -- The children and weapons of Time -- and that Court Where neither steel nor treasure [25] avail Have secured me from the fury [of the foe]. Henceforth I spread confident wings to space; I fear no barrier of crystal or of glass; I cleave the heavens and soar to the infinite. And while I rise from my own globe to others And penetrate ever further through the eternal field, That which others saw from afar, I leave far behind me. [26]

William Stead recognized the power of the fair immediately. The vision of the White City and its profound contrast to the Black City drove him to write If Christ Came to Chicago, a book often credited with launching the City Beautiful movement, which sought to elevate American cities to the level of the great cities of Europe. Like Stead, civic authorities throughout the world saw the fair as a model of what to strive for. They asked Burnham to apply the same citywide thinking that had gone into the White City to their own cities. He became a pioneer in modern urban planning. He created citywide plans for Cleveland, San Francisco, and Manila and led the turn-of-the-century effort to resuscitate and expand L’Enfant’s vision of Washington, D.C. In each case he worked without a fee. While helping design the new Washington plan, Burnham persuaded the head of the Pennsylvania Railroad, Alexander Cassatt, to remove his freight tracks and depot from the center of the federal mall, thus creating the unobstructed green that extends today from the Capitol to the Lincoln Memorial. Other cities came to Daniel Burnham for citywide plans, among them Fort Worth, Atlantic City, and St. Louis, but he turned them down to concentrate on his last plan, for the city of Chicago. Over the years many aspects of his Chicago plan were adopted, among them the creation of the city’s lovely ribbon of lakefront parks and Michigan Avenue’s “Miracle Mile.” One portion of the lakefront, named Burnham Park in his honor, contains Soldier Field and the Field Museum, which he designed. The park runs south in a narrow green border along the lakeshore all the way to Jackson Park, where the fair’s Palace of Fine Arts, transformed into a permanent structure, now houses the Museum of Science and Industry. It looks out over the lagoons and the Wooded Island, now a wild and tangled place that perhaps would make Olmsted smile—though no doubt he would find features to criticize.

Wisdom and knowledge, as well as virtue, diffused generally among the body of the people being necessary for the preservation of their rights and liberties; and as these depend on spreading the opportunities and advantages of education in various parts of the country, and among the different orders of the people, it shall be the duty of legislators and magistrates in all future periods of this commonwealth to cherish the interests of literature and the sciences, and all seminaries of them, especially the university at Cambridge, public schools, and grammar schools in the towns; to encourage private societies and public institutions, rewards and immunities, for the promotion of agriculture, arts, sciences, commerce, trades, manufactures, and a natural history of the country; to countenance and inculcate the principles of humanity and general benevolence, public and private charity, industry and frugality, honesty and punctuality in their dealings, sincerity, good humor, and all social affections, and generous sentiments among the people.

Spare a thought in 2013, this horrible horrible time to be alive, for the satirist. To satirise the self-satirising effluence that passes for populist entertainment and the pathetic vanity of a self-deifying movie industry is no mean feat in an age comfortable in its metameta cage. Being born into a system that values success, usually financial, above everything else, into an essentially worthless and spoiled world of governments happy to toss art aside in favour of financial dominance and petty power, gives the writer a subject, but limited maneuverability in his approach. To merry heck with the leaders who close libraries, theatres and community centres in favour of opening more retail opportunities and call centres to slowly mind-melt the populace. Fuck these zoot-suited capitalist cockslingers with their pus-filled polyps for souls. Because the only respite from the failed system in this failed First World is through literature—not through the ideologues, rhetoricians or motivational yammerers, but through the wonderous drug of fiction.

... The influence of the Pre-Raphaelites was felt less through their paintings than through a book, The Poems of Tennyson, edited by Moxon and wonderfully illustrated by Rossetti and Millais. The influence on Maeterlinck stems less from the poems themselves than from the illustrations. The revival of illustrated books in the last two years of the century derives from this Tennyson, the books printed at William Morris' press, the albums of Walter Crane. These last two and the ravishing little books for children by Kate Greenaway were heralded by Huysmans as early as 1881. Generally speaking, it is the English Aesthetic Movement rather than the Pre-Raphaelites which influenced the Symbolists, a new life-style rather than a school of painting. The Continent, passing through the Industrial Revolution some fifty years after England, found valuable advice on how to escape from materialism on the other side of the Channel. Everything that one heard about the refinements practised in Chelsea enchanted Frenchmen of taste: furniture by Godwin, open-air theatricals by Lady Archibald Campbell, the Peacock Room by Whistler, Liberty prints. As the pressure of morality was much less pronounced in France than in England, the ideal of Aestheticism was not a revolt but a retreat towards an exquisite world which left hearty good living to the readers of the magazine La Vie Parisienne ('Paris Life') and success to the readers of Zola. If one could not write a beautiful poem or paint a beautiful picture, one could always choose materials or arrange bouquets of flowers. Aesthetic ardour smothered the anglophobia in the Symbolist circle. The ideal of a harmonious life suggested in Baudelaire's poem L' Invitation au Voyage seemed capable of realization in England, whose fashions were brought back by celebrated travellers: Mallarmé after 1862, Verlaine in 1872. Carrière spent a long time in London, as did Khnopff later on. People read books by Gabriel Mourey on Swinburne, and his Passé le Détroit ('Beyond the Channel') is particularly important for the artistic way of life ... Thus England is represented in this hall of visual influences by the works of Burne-Jones and Watts, by illustrated books, and by objets d'art ...

Paint in several colors was squeezed out of tubes and mixed and applied to woven fabric stretched on a wooden frame so artfully we say we see a woman hanging out a sheet rather than oil on canvas. Ana Teresa Fernandez’s image on that canvas is six feet tall, five feet wide, the figure almost life-size. Though it is untitled, the series it’s in has a title: Telaraña. Spiderweb. The spiderweb of gender and history in which the painted woman is caught; the spiderweb of her own power that she is weaving in this painting dominated by a sheet that was woven. Woven now by a machine, but before the industrial revolution by women whose spinning and weaving linked them to spiders and made spiders feminine in the old stories. In this part of the world, in the creation stories of the Hopi, Pueblo, Navajo, Choctaw, and Cherokee peoples, Spider Grandmother is the principal creator of the universe. Ancient Greek stories included an unfortunate spinning woman who was famously turned into a spider as well as the more powerful Greek fates, who spun, wove, and cut each person’s lifeline, who ensured that those lives would be linear narratives that end. Spiderwebs are images of the nonlinear, of the many directions in which something might go, the many sources for it; of the grandmothers as well as the strings of begats. There’s a German painting from the nineteenth century of women processing the flax from which linen is made. They wear wooden shoes, dark dresses, demure white caps, and stand at various distances from a wall, where the hanks of raw material are being wound up as thread. From each of them, a single thread extends across the room, as though they were spiders, as though it came right out of their bellies. Or as though they were tethered to the wall by the fine, slim threads that are invisible in other kinds of light. They are spinning, they are caught in the web. To spin the web and not be caught in it, to create the world, to create your own life, to rule your fate, to name the grandmothers as well as the fathers, to draw nets and not just straight lines, to be a maker as well as a cleaner, to be able to sing and not be silenced, to take down the veil and appear: all these are the banners on the laundry line I hang out.

The tremendous leisure industry that has arisen in the last few generations has been designed to help fill free time with enjoyable experiences. Nevertheless, instead of using our physical and mental resources to experience flow, most of us spend many hours each week watching celebrated athletes playing in enormous stadiums. Instead of making music, we listen to platinum records cut by millionaire musicians. Instead of making art, we go to admire paintings that brought in the highest bids at the latest auction. We do not run risks acting on our beliefs, but occupy hours each day watching actors who pretend to have adventures, engaged in mock-meaningful action. This vicarious participation is able to mask, at least temporarily, the underlying emptiness of wasted time. But it is a very pale substitute for attention invested in real challenges. The flow experience that results from the use of skills leads to growth; passive entertainment leads nowhere. Collectively we are wasting each year the equivalent of millions of years of human consciousness. The energy that could be used to focus on complex goals, to provide for enjoyable growth, is squandered on patterns of stimulation that only mimic reality. Mass leisure, mass culture, and even high culture when only attended to passively and for extrinsic reasons—such as the wish to flaunt one’s status—are parasites of the mind. They absorb psychic energy without providing substantive strength in return. They leave us more exhausted, more disheartened than we were before. Unless a person takes charge of them, both work and free time are likely to be disappointing. Most jobs and many leisure activities—especially those involving the passive consumption of mass media—are not designed to make us happy and strong. Their purpose is to make money for someone else. If we allow them to, they can suck out the marrow of our lives, leaving only feeble husks. But like everything else, work and leisure can be appropriated for our needs. People who learn to enjoy their work, who do not waste their free time, end up feeling that their lives as a whole have become much more worthwhile. “The future,” wrote C. K. Brightbill, “will belong not only to the educated man, but to the man who is educated to use his leisure wisely.

There are many reasons why the tech revolution will hit the emerging world much harder than it will hit Europe and the United States. In developed countries, children are more likely to grow up with digital technologies as toys and then to encounter them in school. Governments in these countries have money to invest in educational systems that prepare workers, both blue and white collar, for change. Their universities have much greater access to state-of-the-art technologies. Their companies produce the innovations that drive tech change in the first place. This creates a dynamic in which high-wage countries are more likely than low-wage ones to dominate the skill-intensive industries that will generate twenty-first-century growth, leaving behind large numbers of those billion-plus people who only recently emerged from age-old deprivation. The wealth in developed countries helps them maintain much stronger social safety nets than in poorer countries to help citizens who lose their jobs, fall ill, or need to care for sick children or aging parents. In short, wealthier countries are both more adaptable and more resilient than developing ones.

It was a wise policy in that false prophet, Alexander, who though now forgotten, was once so famous, to lay the first scene of his impostures in Paphlagonia, where, as Lucian tells us, the people were extremely ignorant and stupid, and ready to swallow even the grossest delusion. People at a distance, who are weak enough to think the matter at all worth enquiry, have no opportunity of receiving better information. The stories come magnified to them by a hundred circumstances. Fools are industrious in propagating the imposture; while the wise and learned are contented, in general, to deride its absurdity, without informing themselves of the particular facts, by which it may be distinctly refuted. And thus the impostor above mentioned was enabled to proceed, from his ignorant Paphlagonians, to the enlisting of votaries, even among the Grecian philosophers, and men of the most eminent rank and distinction in Rome; nay, could engage the attention of that sage emperor Marcus Aurelius; so far as to make him trust the success of a military expedition to his delusive prophecies. 23 The advantages are so great, of starting an imposture among an ignorant people, that, even though the delusion should be too gross to impose on the generality of them (which, though seldom, is sometimes the case) it has a much better chance for succeeding in remote countries, than if the first scene had been laid in a city renowned for arts and knowledge. The most ignorant and barbarous of these barbarians carry the report abroad. None of their countrymen have a large correspondence, or sufficient credit and authority to contradict and beat down the delusion. Men’s inclination to the marvellous has full opportunity to display itself. And thus a story, which is universally exploded in the place where it was first started, shall pass for certain at a thousand miles distance. But had Alexander fixed his residence at Athens, the philosophers of that renowned mart of learning had immediately spread, throughout the whole Roman empire, their sense of the matter; which, being supported by so great authority, and displayed by all the force of reason and eloquence, had entirely opened the eyes of mankind. It is true; Lucian, passing by chance through Paphlagonia, had an opportunity of performing this good office. But, though much to be wished, it does not always happen, that every Alexander meets with a Lucian, ready to expose and detect his impostures.

Nothing in the period that followed was too good for the Rouge; it had the best blast furnaces, the best machine tools, the best metal labs, the best electrical systems, the most efficient efficiency experts. At its maturity in the mid-twenties, the Rouge dwarfed all other industrial complexes. It was a mile and a half long and three quarters of a mile wide. Its eleven hundred acres contained ninety-three buildings, twenty-three of them major. There were ninety-three miles of railroad track on it and twenty-seven miles of conveyor belts. Some seventy-five thousand men worked there, five thousand of them doing nothing but keeping it clean, using eighty-six tons of soap and wearing out five thousand mops each month. By the standards of the day the Rouge was, in fact, clean and quiet. Little was wasted. A British historian of the time, J. A. Spender, wrote of its systems: “If absolute completeness and perfect adaptation of means to end justify the word, they are in their own way works of art.” Dissatisfied with the supply and quality of the steel he was getting from the steel companies, Ford asked how much it would cost to build a steel plant within the Rouge. About $35 million, Sorensen told him. “What are you waiting for?” said Ford. Equally dissatisfied with both the availability and the quality of glass, he built a glass factory at the Rouge as well. The

Charles is difficult to pigeonhole politically. Tony Blair wrote that he considered him a “curious mixture of the traditional and the radical (at one level he was quite New Labour, at another definitely not) and of the princely and insecure.” He is certainly conservative in his old-fashioned dress and manners, his advocacy of traditional education in the arts and humanities, his reverence for classical architecture and the seventeenth-century Book of Common Prayer. But his forays into mysticism and his jeremiads against scientific progress, industrial development, and globalization give him an eccentric air. “One of the main purposes of the monarchy is to unite the country and not divide it,” said Kenneth Rose. When the Queen took the throne at age twenty-five, she was a blank slate, which gave her a great advantage in maintaining the neutrality necessary to preserve that unity. It was a gentler time, and she could develop her leadership style quietly. But it has also taken vigilance and discipline for her to keep her views private over so many decades. Charles has the disadvantage of a substantial public record of strong and sometimes contentious opinions, not to mention the private correspondence with government ministers protected by exemptions in the Freedom of Information Act that could come back to haunt him if any of it is made public. One letter that did leak was written in 1997 to a group of friends after a visit to Hong Kong and described the country’s leaders as “appalling old waxworks.

The industrial revolution has held in contempt not only the 'obsolete skills' of those classes, but the concern for quality, for responsible workmanship and good work, that supported their skills. For the principle of good work it substituted a secularized version of the heroic tradition: the ambition to be a 'pioneer' of science or technology, to make a 'breakthrough' that will 'save the world' from some 'crisis' (which now is usually the result of some previous 'breakthrough'). The best example we have of this kind of hero, I am afraid, is the fallen Satan of Paradise Lost--Milton having undoubtedly having observed in his time the prototypes of industrial heroism. This is a hero who instigates and influences the actions of others, but does not act himself. His heroism is of the mind only--escaped as far as possible, not only from divine rule, from its place in the order of creation or the Chain of Being, but also from the influence of material creation: A mind not to be chang'd by Place or Time. The mind is its own place, and in itself Can make a Heav'n of Hell, a Hell of Heav'n This would-be heroism is guilty of two evils that are prerequisite to its very identity: hubris and abstraction. The industrial hero supposes that 'mine own mind hath saved me'--and moreover that it may save the world. Implicit in this is the assumption that one's mind is one's own, and that it may choose its own place in the order of things; one usurps divine authority, and thus, in classic style, becomes the author of results that one can neither foresee nor control.

✓Art changes all the time, but it never "improves." It may go down, or up, but it never improves as technology and medicine improve. ✓Is it strange, then, that in a literature so concerned with realism and with personal liberation this refusal and impoverishment of the life of the spirit have always nourished the screamers, the eccentrics, the pseudo-Whitmans, the calculating terrorists? ✓History has become more important than ever because of the to unprecedented ability of the historical sciences to take in man's life on earth as a whole. ✓I had to admit that in his old-fashioned way O'Hara was still romantic about sex; like Scott Fitzgerald, he thought of it as an upper-class prerogative. ✓Altogether beautiful in the power of its feeling. As beautiful as anything in Thoreau or Hemingway. ✓I liked reading and working out my ideas in the midst of that endless crowd walking in and out of the (library) looking for something. I, too, was seeking fame and fortune by sitting at the end of a long golden table next to the sets of American authors on the open shelves ✓The conviction of tragedy that rises out of his [John Dos Passos's] work is the steady protest of a sensitive democratic conscience against the tyranny and the ugliness of society, against the failure of a complete human development under industrial capitalism. ✓If we practiced medicine like we practice education, wed look for the liver on the right side and left side in alternate years. ✓A year after Hemingway died on the front page, Faulkner went off after a binge, as if dying was nobody's business but his own.

I was dumbfounded to witness this specimen of male beauty in such a compromising position. I had never imagined finding the famous Rick Samuels in a dungeon, let alone in such a vulnerable and decubitus posture. He was my visiting lecturer, who had advised me to be selective in posing pornographically and for high art. He specifically told me that he was careful not to associate himself in the porn industry. Here he was, lying bare among men whom he did not know or have the vision to see. They were using him as a sex object, gratifying themselves regardless of how he felt. The men took turns pumping their swollen instruments into both his orifices until they could stave off their cravings no longer before they released their loads into Rick’s welcoming openings. He was the ‘power bottom,’ otherwise known to the gay underground community as a ‘cum pig’ or a ‘pig bottom.’ That evening was an eye-opener and a reformation. It reaffirmed men’s double standards in their words and actions for me. They were just like seasoned politicians, who promise a world of positive reforms before election. When elected to office, their promises are thrown to the wind. A set of new rules for personal gains then take effect. Thus is the nature of mankind. That evening, Andy, I learned an important lesson that humankind has its strengths and foibles. It is therefore worth the effort to take a closer look at a person’s character instead of embracing the superficiality that could often cloud a sound judgment. My beloved ex-’big brother,’ I am positive in my heart of hearts that you are an honorable gentleman of your word. From the first time I met you to our recent reconnection, you will always be the man I respect, honor, cherish, and, most importantly, LOVE. Young.

The imperialist found it useful to incorporate the credible and seemingly unimpeachable wisdom of science to create a racial classification to be used in the appropriation and organization of lesser cultures. The works of Carolus Linnaeus, Georges Buffon, and Georges Cuvier, organized races in terms of a civilized us and a paradigmatic other. The other was uncivilized, barbaric, and wholly lower than the advanced races of Europe. This paradigm of imaginatively constructing a world predicated upon race was grounded in science, and expressed as philosophical axioms by John Locke and David Hume, offered compelling justification that Europe always ought to rule non-Europeans. This doctrine of cultural superiority had a direct bearing on Zionist practice and vision in Palestine. A civilized man, it was believed, could cultivate the land because it meant something to him; on it, accordingly, he produced useful arts and crafts, he created, he accomplished, he built. For uncivilized people, land was either farmed badly or it was left to rot. This was imperialism as theory and colonialism was the practice of changing the uselessly unoccupied territories of the world into useful new versions of Europe. It was this epistemic framework that shaped and informed Zionist attitudes towards the Arab Palestinian natives. This is the intellectual background that Zionism emerged from. Zionism saw Palestine through the same prism as the European did, as an empty territory paradoxically filled with ignoble or, better yet, dispensable natives. It allied itself, as Chaim Weizmann said, with the imperial powers in carrying out its plans for establishing a Jewish state in Palestine. The so-called natives did not take well to the idea of Jewish colonizers in Palestine. As the Zionist historians, Yehoshua Porath and Neville Mandel, have empirically shown, the ideas of Jewish colonizers in Palestine, this was well before World War I, were always met with resistance, not because the natives thought Jews were evil, but because most natives do not take kindly to having their territory settled by foreigners. Zionism not only accepted the unflattering and generic concepts of European culture, it also banked on the fact that Palestine was actually populated not by an advanced civilization, but by a backward people, over which it ought to be dominated. Zionism, therefore, developed with a unique consciousness of itself, but with little or nothing left over for the unfortunate natives. In fact, I would go so far as to say that if Palestine had been occupied by one of the well-established industrialized nations that ruled the world, then the problem of displacing German, French, or English inhabitants and introducing a new, nationally coherent element into the middle of their homeland would have been in the forefront of the consciousness of even the most ignorant and destitute Zionists. In short, all the constitutive energies of Zionism were premised on the excluded presence, that is, the functional absence of native people in Palestine; institutions were built deliberately shutting out the natives, laws were drafted when Israel came into being that made sure the natives would remain in their non-place, Jews in theirs, and so on. It is no wonder that today the one issue that electrifies Israel as a society is the problem of the Palestinians, whose negation is the consistent thread running through Zionism. And it is this perhaps unfortunate aspect of Zionism that ties it ineluctably to imperialism- at least so far as the Palestinian is concerned. In conclusion, I cannot affirm that Zionism is colonialism, but I can tell you the process by which Zionism flourished; the dialectic under which it became a reality was heavily influenced by the imperialist mindset of Europe. Thank you. -Fictional debate between Edward Said and Abba Eban.

O happy age, which our first parents called the age of gold! Not because of gold, so much adored in this iron age, was then easily purchased, but because those two fatal words mine and thine, were distinctions unknown to the people of those fortunate times; for all things were in common in that holy age: men, for their sustenance, needed only lift their hands and take it from the sturdy oak, whose spreading arms liberally invited them to gather the wholesome savoury fruit; while the clear springs, and silver rivulets, with luxuriant plenty, ordered them their pure refreshing water. In hollow trees, and in the clefts of rocks, the laboring and industrious bees erected their little commonwealths, that men might reap with pleasure and with ease the the sweet and fertile harvest of their toils. The tough and strenuous cork-trees did of themselves, and without other art than their native liberality, dismiss and impart their broad light bark, which served to cover these lowly huts, propped up with rough-hewn stakes, that were first built as a shelter against the inclemencies of air. All then was union, all peace, all love and friendship in the world; as yet no rude plough-share with violence to pry into the pious bowels of our mother earth, for she, without compulsion, kindly yielded from every part of her fruitful and spacious bosom, whatever might at once satisfy, sustain, and indulge her frugal children. Then was the when innocent, beautiful young sheperdesses went tripping over the hills and vales; their lovely hairs sometimes plaited, sometimes loose and flowing, clad in no other vestment but what was necessary to cover decently what modesty would always have concealed. The Tyrian dye and the rich glossy hue of silk, martyred and dissembled into every color, which are now esteemed so fine and magnificent, were unknown to the innocent plainness of that age; arrayed in the most magnificent garbs, and all the most sumptous adornings which idleness and luxury have taught succeeding pride: lovers then expressed the passion of their souls in the unaffected language of the heart, with the native plainness and sincerity in which they were conceived, and divested of all that artificial contexture, which enervates what it labours to enforce: imposture, deceit and malice had not yet crept in and imposed themselves unbribed upon mankind in the disguise of truth and simplicity: justice, unbiased either by favour or interest, which now so fatally pervert it, was equally and impartially dispensed; nor was the judge's fancy law, for then there were neither judges nor causes to be judged: the modest maid might walk wherever she pleased alone, free from the attacks of lewd, lascivious importuners. But, in this degenerate age, fraud and a legion of ills infecting the world, no virtue can be safe, no honour be secure; while wanton desires, diffused into the hearts of men, corrupt the strictest watches, and the closest retreats; which, though as intricate and unknown as the labyrinth of Crete, are no security for chastity. Thus that primitive innocence being vanished, the opression daily prevailing, there was a necessity to oppose the torrent of violence: for which reason the order of knight-hood-errant was instituted to defend the honour of virgins, protect widows, relieve orphans, and assist all the distressed in general. Now I myself am one of this order, honest friends; and though all people are obliged by the law of nature to be kind to persons of my order; yet, since you, without knowing anything of this obligation, have so generously entertained me, I ought to pay you my utmost acknowledgment; and, accordingly, return you my most hearty thanks for the same.