Op Art Quotes

People get addicted to feeling offended all the time because it gives them a high; being self-righteous and morally superior feels good. As political cartoonist Tim Kreider put it in a New York Times op-ed: “Outrage is like a lot of other things that feel good but over time devour us from the inside out. And it’s even more insidious than most vices because we don’t even consciously acknowledge that it’s a pleasure.

Out in the field, any connection with home just makes you weaker. It reminds you that you were once civilized, soft; and that can get you killed faster than a bullet through the head.

I think all artists struggle to represent the geometry of life in their own way, just like writers deal with archetypes. There are only so many stories that you can tell, but an infinite number of storytellers.

I can't help but recall, at this point, a horribly elitist but very droll remark by one of my favorite writers, the American "critic of the seven arts", James Huneker, in his scintillating biography of Frédéric Chopin, on the subject of Chopin's étude Op. 25, No. 11 in A minor, which for me, and for Huneker, is one of the most stirring and most sublime pieces of music ever written: “Small-souled men, no matter how agile their fingers, should avoid it.” "Small-souled men"?! Whew! Does that phrase ever run against the grain of American democracy! And yet, leaving aside its offensive, archaic sexism (a crime I, too, commit in GEB, to my great regret), I would suggest that it is only because we all tacitly do believe in something like Hueneker's' shocking distinction that most of us are willing to eat animals of one sort or another, to smash flies, swat mosquitos, fight bacteria with antibiotics, and so forth. We generally concur that "men" such as a cow, a turkey, a frog, and a fish all possess some spark of consciousness, some kind of primitive "soul" but by God, it's a good deal smaller than ours is — and that, no more and no less, is why we "men" feel that we have the perfect right to extinguish the dim lights in the heads of these fractionally-souled beasts and to gobble down their once warm and wiggling, now chilled and stilled protoplasm with limitless gusto, and not feel a trace of guilt while doing so.

Ik ga voor je zingen, een beetje vals misschien, maar ik zing toch. Ik zing terwijl jullie creperen, ik dans op je gore lijk...

The Special Operations Network was instigated to handle policing duties considered either too unusual or too specialized to be tackled by the regular force. There were thirty departments in all, starting at the more mundane Neighborly Disputes (SO-30) and going onto Literary Detectives (SO-27) and Art Crime (SO-24). Anything below SO-20 was restricted information, although it was common knowledge that the ChronoGuard was SO-12 and Antiterrorism SO-9. It is rumored that SO-1 was the department that polices the SpecOps themselves. Quite what the others do is anyone's guess. What is known is that the individual operatives themselves are mostly ex-military or ex-police and slightly unbalanced. 'If you want to be a SpecOp,' the saying goes, 'act kinda weird...

Mr. Smith was an art-ist, as well as an in-vent-or, and he paint-ed a pic-ture of a riv-er which was so nat-ur-al that, as he was reach-ing a-cross it to paint some flow-ers on the op-po-site bank, he fell in-to the wa-ter and was drowned.

Babel werd nooit moe zijn verhalen te herschrijven. Hij zei dat er in een volzin ergens een soort hefboompje zat waarop je de hand kon leggen om er een heel kleine, maar precies goede draai mee te geven, niet te veel, niet te weinig, waarna alles op zijn plaats viel.

; so too, her glazed ceramics and her macramé are interchangeable with those executed by her women friends in the area, who take courses at the Mill Brook Valley Arts Co-op and whose houses are gradually filling with their creations, like ships gradually sinking beneath the weight of ever-more cargo.

I spent a few more minutes puzzling over the timeline before turning my attention to the notebook’s first page, which contained a pencil drawing of an old-school coin-operated arcade game—one I didn’t recognize. Its control panel featured a single joystick and one unlabeled white button, and its cabinet was entirely black, with no side art or other markings anywhere on it, save for the game’s strange title, which was printed in all capital green letters across its jet black marquee: POLYBIUS. Below his drawing of the game, my father had made the following notations: No copyright or manufacturer info anywhere on game cabinet. Reportedly only seen for 1–2 weeks in July 1981 at MGP. Gameplay was similar to Tempest. Vector graphics. Ten levels? Higher levels caused players to have seizures, hallucinations, and nightmares. In some cases, subject committed murder and/or suicide. “Men in Black” would download scores from the game each night. Possible early military prototype created to train gamers for war? Created by same covert op behind Bradley Trainer?

Gravity is the root of lightness; stillness the ruler of movement.” (Mueller, op. cit., p. 69.)

Because privacy is just a hypothetical concept to ART, it broke in and said, I’m downloading to my ops drone stored in the shuttle.

Relationships aren’t about photo ops. They’re about scaling mountains and crossing deserts, about getting to where you think you belong, about having your partner’s arms around you, and realizing that you don’t fit into them. That’s why it was art.

We zijn inferieure schepselen, net goed genoeg om te jongen. We hebben eierstokken, moeten ons er iedere maand bij neerleggen dat we bloeden, we zijn afhankelijk van de maan. Onze hersenen zijn minder ontwikkeld dan die van onze metgezellen en onze lichaamskracht is geringer. In alle omstandigheden zijn we emotioneler. Als een vrouw ziet dat een rivale mooiere schoentjes draagt dan zij zelf, zal ze niet ophouden de ander omlaag te halen en te kwetsen. Kun je je twee mannen voorstellen die elkaar verfoeien vanwege hun molières? Mannen wedijveren met elkaar op het niveau van geld, ambitie en intelligentie. Zij hebben het vermogen tot afstand nemen en onthechting, terwijl vrouwen iedere beheersing verliezen zodra ze een poederdoos of een ring zien. Nooit zal een vrouw een Michelangelo, een Bach of een Palladio zijn. Grote filosofen met een rok aan bestaan niet. Hoe wil je dat ze systemen ontwerpen zoals Kant, Hegel of Marx? Een dergelijk abstraherend vermogen kan niet ontstaan in de geest van een pop.

I hate the Fourth of July. The early middle age of summer. Everything is alive and kicking for now, but the eventual decline into fall has already set itself in motion. Some of the lesser shrubs and bushes, seared by the heat, are starting to resemble a bad peroxide job. The heat reaches a blazing peak, but summer is lying to itself, burning out like some alcoholic genius. And you start to wonder - what have I done with June? The poorest of the lot - the Vladeck House project dwellers who live beneath my co-op - seem to take summer in stride; they groan and sweat, drink the wrong kind of lager, make love, the squat children completing mad circles around them by foot or mountain bike. But for the more competitive of New Yorkers, even for me, the summer is there to be slurped up. We know summer is the height of being alive. We don’t believe in God or the prospect of an afterlife mostly, so we know that we’re only given eighty summers or so per lifetime, and each one has to be better than the last, has to encompass a trip to that arts center up at Bard, a seemingly mellow game of badminton over at some yahoo’s Vermont cottage, and a cool, wet, slightly dangerous kayak trip down an unforgiving river. Otherwise, how would you know that you have lived summertime best? What if you missed out on some morsel of shaded nirvana?

Recently, a judge of the prestigious 2014 British Forward Prize for Poetry was moved to observe that “there is an awful lot of very powerful, lyrical, and readable poetry being written today,” but we need education, because “we have lost the sense that poetry sits halfway between prose and music—that you can’t expect to read it like a novel.” A few years ago, the New York Times published an op-ed of mine, about learning poetry by heart. The response to it confirmed that people of all ages think about poetry as a kind of inspired music, embodying beauty and insight. On one hand, poetry has always flowed from music, as rap and hip-hop remind us big-time. Rappers know how poetry walks and talks. So we have music, or deeply felt recitations of poems that belong to collective memory. On the other hand, we have overly instructive prose poems, as well as the experiments of certain critical ideologies, or conceptual performance art. These aspects seem to represent the public, Janus face of poetry.

The responsibility/fault fallacy allows people to pass off the responsibility for solving their problems to others. This ability to alleviate responsibility through blame gives people a temporary high and a feeling of moral righteousness. Unfortunately, one side effect of the Internet and social media is that it’s become easier than ever to push responsibility—for even the tiniest of infractions—onto some other group or person. In fact, this kind of public blame/shame game has become popular; in certain crowds it’s even seen as “cool.” The public sharing of “injustices” garners far more attention and emotional outpouring than most other events on social media, rewarding people who are able to perpetually feel victimized with ever-growing amounts of attention and sympathy. “Victimhood chic” is in style on both the right and the left today, among both the rich and the poor. In fact, this may be the first time in human history that every single demographic group has felt unfairly victimized simultaneously. And they’re all riding the highs of the moral indignation that comes along with it. Right now, anyone who is offended about anything—whether it’s the fact that a book about racism was assigned in a university class, or that Christmas trees were banned at the local mall, or the fact that taxes were raised half a percent on investment funds—feels as though they’re being oppressed in some way and therefore deserve to be outraged and to have a certain amount of attention. The current media environment both encourages and perpetuates these reactions because, after all, it’s good for business. The writer and media commentator Ryan Holiday refers to this as “outrage porn”: rather than report on real stories and real issues, the media find it much easier (and more profitable) to find something mildly offensive, broadcast it to a wide audience, generate outrage, and then broadcast that outrage back across the population in a way that outrages yet another part of the population. This triggers a kind of echo of bullshit pinging back and forth between two imaginary sides, meanwhile distracting everyone from real societal problems. It’s no wonder we’re more politically polarized than ever before. The biggest problem with victimhood chic is that it sucks attention away from actual victims. It’s like the boy who cried wolf. The more people there are who proclaim themselves victims over tiny infractions, the harder it becomes to see who the real victims actually are. People get addicted to feeling offended all the time because it gives them a high; being self-righteous and morally superior feels good. As political cartoonist Tim Kreider put it in a New York Times op-ed: “Outrage is like a lot of other things that feel good but over time devour us from the inside out. And it’s even more insidious than most vices because we don’t even consciously acknowledge that it’s a pleasure.” But

Natasha took his arm, gushing to him that she was ready for outrage from PETA, a protest or two, an Op-Ed in the New York Times that would be publicity gold. Ping Xi nodded blankly. I called in sick the day of the opening. Natasha didn’t seem to care. She had Angelika fill in at the front desk. She was an anorexic Goth, a senior at NYU. The show was a “brutal success,” one critic called it. “Cruelly funny.” Another said Ping Xi “marked the end of the sacred in art. Here is a spoiled brat taking the piss out of the establishment. Some are hailing him as the next Marcel Duchamp. But is he worth the stink?

The biggest fear for homeschooled children is that they will be unable to relate to their peers, will not have friends, or that they will otherwise be unable to interact with people in a normal way. Consider this: How many of your daily interactions with people are solely with people of your own birth year?  We’re not considering interactions with people who are a year or two older or a year or two younger, but specifically people who were born within a few months of your birthday. In society, it would be very odd to section people at work by their birth year and allow you to interact only with persons your same age. This artificial constraint would limit your understanding of people and society across a broader range of ages. In traditional schools, children are placed in grades artificially constrained by the child’s birth date and an arbitrary cut-off day on a school calendar. Every student is taught the same thing as everyone else of the same age primarily because it is a convenient way to manage a large number of students. Students are not grouped that way because there is any inherent special socialization that occurs when grouping children in such a manner. Sectioning off children into narrow bands of same-age peers does not make them better able to interact with society at large. In fact, sectioning off children in this way does just the opposite—it restricts their ability to practice interacting with a wide variety of people. So why do we worry about homeschooled children’s socialization?  The erroneous assumption is that the child will be homeschooled and will be at home, schooling in the house, all day every day, with no interactions with other people. Unless a family is remotely located in a desolate place away from any form of civilization, social isolation is highly unlikely. Every homeschooling family I know involves their children in daily life—going to the grocery store or the bank, running errands, volunteering in the community, or participating in sports, arts, or community classes. Within the homeschooled community, sports, arts, drama, co-op classes, etc., are usually sectioned by elementary, pre-teen, and teen groupings. This allows students to interact with a wider range of children, and the interactions usually enhance a child’s ability to interact well with a wider age-range of students. Additionally, being out in the community provides many opportunities for children to interact with people of all ages. When homeschooling groups plan field trips, there are sometimes constraints on the age range, depending upon the destination, but many times the trip is open to children of all ages. As an example, when our group went on a field trip to the Federal Reserve Bank, all ages of children attended. The tour and information were of interest to all of the children in one way or another. After the tour, our group dined at a nearby food court. The parents sat together to chat and the children all sat with each other, with kids of all ages talking and having fun with each other. When interacting with society, exposure to a wider variety of people makes for better overall socialization. Many homeschooling groups also have park days, game days, or play days that allow all of the children in the homeschooled community to come together and play. Usually such social opportunities last for two, three, or four hours. Our group used to have Friday afternoon “Park Day.”  After our morning studies, we would pack a picnic lunch, drive to the park, and spend the rest of the afternoon letting the kids run and play. Older kids would organize games and play with younger kids, which let them practice great leadership skills. The younger kids truly looked up to and enjoyed being included in games with the older kids.

There is however, one reason why the arts so rarely accept a mission that IS within the power of the Church to alter. In the past, the densest or richest location of baptised art has been the Liturgy. The sacred use of the arts in the liturgical setting has provided inspiration for artists engaged in producing artworks for contexts outside the Liturgy, for consumption beyond the limits of the visible Church. In the modern West, the Muses have largely fled the liturgical amphitheatre, which instead is given over to banal language, poor quality popular music, and, in new and re-designed churches, a nugatory or sometimes totally absent visual art. This deprives the wider Christian mission of the arts of essential nourishment. Where would the poetry of Paul Claudel be without the Latin Liturgy? Or John Tavener's music without the Orthodox Liturgy? Where would be the entire tradition of representational art in the West without the liturgical art of which until the seventeenth century at least remained at its heart? We need today to summon back the Muses to the sacred foyer of the Church, to be at home again at that hearth.

OPTIONS FOR REDUCING While thrift stores such as Goodwill or the Salvation Army can be a convenient way to initially let go, many other outlets exist and are often more appropriate for usable items. Here are some examples: • Amazon.com • Antiques shops • Auction houses • Churches • Consignment shops (quality items) • Craigslist.org (large items, moving boxes, free items) • Crossroads Trading Co. (trendy clothes) • Diggerslist.com (home improvement) • Dress for Success (workplace attire) • Ebay.com (small items of value) • Flea markets • Food banks (food) • Freecycle.org (free items) • Friends • Garage and yard sales • Habitat for Humanity (building materials, furniture, and/or appliances) • Homeless and women’s shelters • Laundromats (magazines and laundry supplies) • Library (books, CDs and DVDs) • Local SPCA (towels and sheets) • Nurseries and preschools (blankets, toys) • Operation Christmas Child (new items in a shoe box) • Optometrists (eyeglasses) • Regifting • Rummage sales for a cause • Salvage yards (building materials) • Schools (art supplies, magazines, dishes to eliminate class party disposables) • Tool co-ops (tools) • Waiting rooms (magazines) • Your curb with a “Free” sign

Christ is, then, the perfect art work in the sense of that reality in whom is realised those goals that all artistic making has as its explicit or implicit ends. Because he is infinite meaning, life and being perfectly synthesised with finite form, the cave painters at Lascaux, or Hesiod penning his hymns, or Beethoven working on his last quartets, were all gesturing towards him though they realised it not.

The meal was an epicurean extravaganza, the Michelin chef outdoing himself with his nine courses, each richer than the last. Maya nibbled at the fare as first-growth Bordeaux flowed like water, ten cases of Chateau Petrus from a stellar year purchased at auction in New York and shipped to Nahir’s temperature-controlled, eight-thousand-bottle wine cellar for the party. After salad, lobster bisque, and curried shrimp, a small piece of seared pork belly was followed by ostrich in a truffle reduction, which in turn was trumped by poached Chilean sea bass, bluefin tuna, fugu prepared by a master Japanese chef skilled in the art of preparation of the poisonous pufferfish, and the final entrée course of Kobe beef filet.

And so thoroughly did they communicate their spirit and their skill to the youth of the surrounding country that as early as the ninth century we find those whose ancestors but two centuries before were Barbarians in a world of horror and chaos, creating a realm of art and uprearing churches and monasteries that are the admiration and the wonder of modern times.

This is the subject of an art work by the Brooklyn-based artist Andrew Norman Wilson called ScanOps. The project began in 2007, when Wilson was contracted by a video-production company to work on the Google campus. He noted sharp divisions between the workers; one group, known as ScanOps, were sequestered in their own building. These were data-entry workers, the people to whom those mysterious hands belonged. Wilson became intrigued by them, and began filming them walking to and from their ten-hour shifts in silence. He was able to capture a few minutes of footage before Google security busted him. In a letter to his boss explaining his motives, Wilson remarked that most of the ScanOps workers were people of color. He wrote, “I’m interested in issues of class, race and labor, and so out of general curiosity, I wanted to ask these workers about their jobs.” In short order, he was fired.

Agile thinking simply says that we should empower small teams to inspect and adapt rather than stick to a plan. Lean thinking gives that small team ways to speed up its inspecting and adapting process to maximize its impact. Continuous Delivery and DevOps place the entire value stream in the hands of that small team so that it can “optimize the whole” (a term of art in Lean thinking) and be empowered as a team to own the entire value delivery process.

According to a document written by Col. Paul Valley and Maj. Michael Aquino, titled “From PSYOP to Mindwar: The Psychology of Victory,”[79] the US Army used dark, arcane arts to open a Pandora’s Box of paranormal activity. A practicing Satanist, Lt. Col. Aquino[80] was a psy ops agent specializing in brainwashing and mind

O God, our help in ages past, Our hope for years to come, Our shelter from the stormy blast, And our eternal home. Under the shadow of Thy throne Thy saints have dwelt secure; Sufficient is Thine arm alone, And our defense is sure. Before the hills in order stood, Or earth received her frame, From everlasting Thou art God, To endless years the same. Thy Word commands our flesh to dust, “Return, ye sons of men”: All nations rose from earth at first, And turn to earth again. A thousand ages in Thy sight Are like an evening gone; Short as the watch that ends the night Before the rising sun. The busy tribes of flesh and blood, With all their lives and cares, Are carried downwards by the flood, And lost in foll’wing years. Time, like an ever-rolling stream, Bears all its sons away; They fly, forgotten, as a dream Dies at the op’ning day. Like flow’ry fields the nations stand Pleased with the morning light; The flow’rs beneath the mower’s hand Lie with’ring ere ’tis night. O God, our help in ages past, Our hope for years to come, Be Thou our guard while troubles last, And our eternal home.

O God, our help in ages past, Our hope for years to come, Our shelter from the stormy blast, And our eternal home. Under the shadow of Thy throne Thy saints have dwelt secure; Sufficient is Thine arm alone, And our defense is sure. Before the hills in order stood, Or earth received her frame, From everlasting Thou art God, To endless years the same. Thy Word commands our flesh to dust, “Return, ye sons of men”: All nations rose from earth at first, And turn to earth again. A thousand ages in Thy sight Are like an evening gone; Short as the watch that ends the night Before the rising sun. The busy tribes of flesh and blood, With all their lives and cares, Are carried downwards by the flood, And lost in foll’wing years. Time, like an ever-rolling stream, Bears all its sons away; They fly, forgotten, as a dream Dies at the op’ning day. Like flow’ry fields the nations stand Pleased with the morning light; The flow’rs beneath the mower’s hand Lie with’ring ere ’tis night. O God, our help in ages past, Our hope for years to come, Be Thou our guard while troubles last, And our eternal home.

And another local journalist wrote an op-ed wondering if this trend of empathy had gone too far. Wondering if this trend of empathy had gone too far? To erase the possibility of empathy is also to erase the possibility of understanding.

Rousseau, Julie oder die neue Heloïse, op. cit., p. 444. Rousseau construye un estado de naturaleza en el que los hombres eran transparentes los unos para los otros: «Antes de que el arte hubiese moldeado nuestros modales y enseñase a nuestras pasiones a hablar un lenguaje adecuado, nuestras costumbres eran rústicas, pero naturales; y la diferencia de las conductas denunciaba inmediatamente la de los caracteres. En el fondo la naturaleza humana no era mejor; pero los hombres hallaban su seguridad en la facilidad de conocerse recípro- camente; y esa ventaja, cuyo valor ya no apreciamos, les evitaba muchos vicios» (Discurso sobre las ciencias y las artes, Buenos Aires, Aguilar, 1980, p.

Because they’re likely art or music majors, not people with a technology background, they’ll publicly promise the impossible and IT will have to figure out how to deliver.

Er komt een tijd dat je alleen bent," schreef Céline lang voordat het hem echt overkwam, "als je aan het eind bent gekomen van alles wat je overkomen kan. Het is het einde van de wereld, zelfs verdriet, je eigen verdriet, geeft geen antwoord meer en je moet op je schreden terugkeren, je weer onder de mensen begeven, het maakt niet uit wie.

Op dat niveau van politieke dwaasheid wordt verraad bijna een kunst. “A ce degré de bêtise politique, la trahison devient presque une œuvre d'art.

Alles flonkerde. Er werd muziek gespeeld, er werd gedanst. Beeldschone vrouwen met lang zwart haar walsten met heel kleien pasjes, met de aristocratisch zelfbeheersing waar militairen van het expeditieleger hopeloos verliefd op werden.

According to Croce, therefore, the burden of artistic meaning lies not with representation but with expression. And expression is the vehicle of aesthetic value. Works of art express things, and even abstract art, like instrumental music or abstract painting, can be an effective milieu for expression. So how do we understand expression, and why is it a value? One suggestion is that works of art express emotion, and that this is of value to us because it acquaints us with the human condition, and arouses our sympathies for experiences that we do not otherwise undergo. But clearly works of art don’t express emotion in the way that you express your anger by shouting at your son, or your love by speaking to him affectionately. Most works of art are not created in a sudden heat of passion; nor do we have the knowledge that will enable us to say what passion (if any) motivated the artist. Even when artists refer to the emotion that is allegedly conveyed by their work, we may not believe that their description is the correct one. Beethoven prefaced the slow movement of Op. 132 with the description ‘Hymn of thanksgiving from the convalescent to the Godhead in the Lydian mode’. Suppose you respond by saying ‘To me it is just a serene expression of contentment, and convalescence has nothing to do with it’. Does that show that you have not understood the movement? Why is Beethoven any better placed than you, to put words to the feeling conveyed by his music? Maybe you, as critic, are better able to describe the emotional content of a piece of music than the composer. There are plenty of artists who are awoken by criticism to the meaning of their own works: such, for example, was T. S. Eliot’s response to Helen Gardner’s book about his poetry—namely, at last I know what it means.

Heidegger, Ser y tiempo, op. cit., p. 151: «En la utilización de los medios de locomoción pública, en el empleo de los servicios de información (periódicos), cada cual es igual a otro. Gozamos y nos divertimos como se goza; leemos, vemos y juzgamos sobre literatura y arte como se ve y se juzga».

Art Ocain is a business leader, investor, writer, and DevOps advocate from Pennsylvania, the United States who specializes in the field of programming and cybersecurity. He focuses on using the theory of constraints and applying constraint management to all areas of business including sales, finance, planning, billing, and all areas of operations. Ocain has a Mathematics degree from the University of Maryland and a Business degree from the University of the People. And he is also certified by many renowned organizations like CISM from ISACA, CCNA from Cisco, MCSE from Microsoft, Security Administrator from Azure, Six Sigma, Scrum, and many more. Ocain is responsible for leading many teams toward revolutionary change through his DevOps principles, no matter the type of company or team. So far, he has worked in a lot of companies as a project manager, a President, a COO, a CTO, and an incident response coordinator. Along with this, Ocain is a blog writer and public speaker. He loves to write and share his knowledge and has given presentations at SBDC (Small Business Development Center) and Central PA Chamber of Commerce. Ocain shares his thoughts and information about his upcoming events on sites like MePush, LinkedIn, Slideshare, Quora, and Microsoft Tech Community. Throughout his career, Ocain has been a coach and a mentor to many people and has helped develop companies and build brands.

Op de overloop boven aan de trap stond een grote vaas met plastic bloemen. ‘Ik weet het,’ zei de majordomus. ‘Het was ijdele hoop dat dit u zou ontgaan. Ik vraag u met klem de grootmoedigheid op te brengen om mijn nederige excuses te aanvaarden. Deze uit de toon vallende decoratie is het jammerlijke gevolg van het enthousiasme van de nieuwe eigenaar.’ ‘Heeft het hotel een nieuwe eigenaar?’ vroeg ik. ‘Onlangs is Grand Hotel Europa overgegaan in Chinese handen,’ zei hij.

a deployment pipeline. That’s your entire value stream from code check-in to production. That’s not an art. That’s production. You need to get everything in version control. Everything. Not just the code, but everything required to build the environment. Then you need to automate the entire environment creation process. You need a deployment pipeline where you can create test and production environments, and then deploy code into them, entirely on-demand.

The current media environment both encourages and perpetuates these reactions because, after all, it’s good for business. The writer and media commentator Ryan Holiday refers to this as “outrage porn”: rather than report on real stories and real issues, the media find it much easier (and more profitable) to find something mildly offensive, broadcast it to a wide audience, generate outrage, and then broadcast that outrage back across the population in a way that outrages yet another part of the population. This triggers a kind of echo of bullshit pinging back and forth between two imaginary sides, meanwhile distracting everyone from real societal problems. It’s no wonder we’re more politically polarized than ever before. The biggest problem with victimhood chic is that it sucks attention away from actual victims. It’s like the boy who cried wolf. The more people there are who proclaim themselves victims over tiny infractions, the harder it becomes to see who the real victims actually are. People get addicted to feeling offended all the time because it gives them a high; being self-righteous and morally superior feels good. As political cartoonist Tim Kreider put it in a New York Times op-ed: “Outrage is like a lot of other things that feel good but over time devour us from the inside out. And it’s even more insidious than most vices because we don’t even consciously acknowledge that it’s a pleasure.

As political cartoonist Tim Kreider put it in a New York Times op-ed: “Outrage is like a lot of other things that feel good but over time devour us from the inside out. And it’s even more insidious than most vices because we don’t even consciously acknowledge that it’s a pleasure.

O Lord, how wonderful in depth and height, But most in man, how wonderful Thou art! With what a love, what soft persuasive might Victorious o'er the stubborn fleshly heart, Thy tale complete of saints Thou dost provide, To fill the thrones which angels lost through pride! He lay a grovelling babe upon the ground, Polluted in the blood of his first sire, With his whole essence shatter'd and unsound, And coil'd around his heart a demon dire, Which was not of his nature, but had skill To bind and form his op'ning mind to ill. Then was I sent from heaven to set right The balance in his soul of truth and sin, And I have waged a long relentless fight, Resolved that death-environ'd spirit to win, Which from its fallen state, when all was lost, Had been repurchased at so dread a cost.

Toch zijn er mensen die in die logica − dus dat je je concentreert op de meest futiele details zoals stof op een bureau of vliegenpoepjes op een schilderij − de enige manier zien om de waarheid te doorgronden. Misschien zien ze het zelfs als het definitieve bewijs van die waarheid. Er zijn kunsthistorici die dat beweren. Goed, zij beweren weliswaar niet dat ze vliegenpoepjes op een schilderij zien, maar wel dat ze, als ze bijvoorbeeld moeten bepalen of een schilderij echt is of niet, enkel kijken naar de minst belangrijke details. In hun visie richten kunstvervalsers zich op de hoofdkenmerken, zoals de ronde vorm van een gezicht, of een lichaamshouding, die ze vervolgens perfect nabootsen. Maar ze kijken zelden naar de kleine, marginale details, zoals oorbellen, of de nagels van vingers of tenen. Daardoor slagen ze er niet in het kunstwerk in al zijn facetten te reproduceren. Anderen beweren, op basis van hetzelfde idee, dat je een voorval of een object precies kunt reconstrueren, zelfs als je het niet zelf hebt meegemaakt, simpel door te kijken naar de kleine details die anderen misschien onbelangrijk vinden, zoals dat in oude fabels vaak gebeurt.

He knew what was going on in painting in this country in the Fifties and Sixties. Abstract Expressionism, Pop-Art, Minimal, Op-Art, Less-is-More, Flat, all the avant-garde idiocies. But Maitland paid no attention to it. He went his way. Traditional. Representational. If he painted a tit, it was a tit.

Spec Ops: Case Studies in Special Operations Warfare: Theory and Practice.

Bergen zoals deze, en reizigers in de bergen, en hun lotgevallen treft men niet alleen aan in Zen-literatuur, maar in de exemplarische vertellingen van iedere grote religie. De allegorische voorstelling van een natuurlijke berg voor de geestelijke berg die tussen iedere ziel en zijn doel staat, werpt zich makkelijk en als vanzelfsprekend op. Zoals iedereen in het dal beneden ons, staan de meeste mensen hun hele leven voor de aanblik van de geestelijke bergen in hun leven waarin zij zich nooit begeven, tevreden als ze zijn met de verhalen van degenen die er geweest zijn, en op die manier vermijden ze de beproevingen. Sommige reizen in de bergen begeleid door ervaren gidsen die de beste en minst gevaarlijke wegen kennen die tot hun bestemming leiden. Weer anderen, meest onervaren en zonder vertrouwen, wagen het hun eigen weg te ontdekken. Slechts weinigen slagen daarin, maar af en toe halen enkelen het door louter wilskracht, geluk en genade. Zodra zij zijn gearriveerd beseffen zij beter dan alle anderen dat er niet één, of een vast aantal wegen bestaat. Er zijn zoveel wegen als er afzonderlijke zielen zijn.

Iedere inspanning die zelfverheerlijking tot uiteindelijk doel heeft, moet op een ramp uitdraaien.

De doffe elende van iedere nieuwe of vernieuwde politieke partij is dat ze wordt geïnfiltreerd door opportunisten die, van zodra ze een functie binnen de partij krijgen, ze naast hun schoenen gaan lopen. In 1991 was dit het geval met ene Louis Standaert die amper 72 stemmen verzamelde maar dankzij mijn groot overschot aan stemmen toch verkozen werd als volksvertegenwoordiger. Omdat kort voor de verkiezingen alle opiniepeilingen uitwezen dat we meer dan 5 % van de stemmen zouden halen werd ik vier dagen voor de verkiezingen, na volkomen gefantaseerde klacht van een infiltrante (Ann Holvoet), meteen in de gevangenis opgesloten (de democratie, nietwaar). Daar liet men mij 40 dagen zitten, tot na Kerstmis. In die tussentijd belegde de vers verkozen Louis Standaert een partijvergadering waarop hij eiste dat ... Van Rossem uit de partij moest worden gezet. Later, tijdens dezelfde legislatuur ging hij onder de naam "Banaan" scheep met Roland Duchâtelet om minder dan 2 % van de stemmen binnen te halen. En ook nu is het niet anders. Een aantal volksjongens binnen het nieuwe R.O.S.S.E.M. kreeg het aan de stok met de intellectuelen van de R.O.S.S.E.M., wilde die afschaffen, en mezelf uit de partij laten zetten. Dit trieste maneuver lekte uiteraard uit zodat op grond van art. 2.3 van de statuten de drie oproerkraaiers prompt uit het partijbestuur en de partij werden gezet. Liever er nu korte metten mee gemaakt dan ze straks aan een zitje in het Parlement te helpen om me een dolk in de rug te laten steken à la Louis Standaert. En al ben ik voor mijn politieke tegenstanders een steenezel, dan zal ik mij toch niet een tweede keer aan dezelfde steen stoten.

Dingen die je geschreven hebt, rijpen niet met je mee, zo lijkt me althans. De waarheid ervan kan bepaald zijn door de tijd, maar er bestaat niet zoiets als bij de tijd zijn wanneer de tijd voorbij is. Boeken blijven bestaan buiten de tijd om of ze houden op te bestaan. Dat is zoals het gaat in de literatuur. Boeken markeren een periode of een plaats, en geleidelijk worden ze die tijd en plaats'.

De instinctieve en vooruitstrevende belangstelling van ieder mens voor kunst zal altijd blijven; zij zal aan verwachtingen voldoen en nieuwe verwachtingen opbouwen, nieuwe horizonnen openen, totdat de dag aanbreekt waarop ieder mens, als hij zijn aardappels rooit, zijn eigen heldendicht, zijn eigen symfonie (of opera als hij daarvan houdt) ademt. En als hij op een avond in zijn achtertuin in hemdsmouwen een pijp zit te rokenen kijkt naar zijn kinderen, hoe zij voor hun plezier hun thema's voor hun sonates van hun leven, dan zal hij uitkijken over de bergen en zijn visioenen verwerkelijkt zien en zal hij de transcendentale tonen van de symfonie van die dag horen wederklinken in vele koren in al hun perfectie, aangedragen over de boomtoppen door de westenwind.

Clearly, what was state of the art three years ago is just not good enough for today’s business environment.

Een arts kan heel in het algemeen de mensheid proberen te dienen, maar het staat hem uiteraard ook vrij zich alleen in dienst te stellen van een bepaald deel van de mensheid. Een zekere dr. Thaler bijvoorbeeld had ongeveer tweehonderd jaar geleden in Wenen de uit Nigeria afkomstige Soliman na diens dood met de toestemming van keizer Franz de huid afgestroopt, had de man die in een veldslag het leven van de vorst van Lobkowicz had gered, een neger genaamd Soliman, de huid afgestroopt, had de leraar van de vorsten van Liechtenstein, een zwarte genaamd Soliman, de huid afgestroopt, had de vrijmetselaar van de loge De Ware Eendracht, een Moor genaamd Soliman, de huid afgestroopt, had bij wijze van spreken de broeder van de vrijmetselaars Mozart en Schikaneder, de borg van de naar opname in de loge strevende wetenschapper Ignaz von Born, een Afrikaan genaamd Soliman, de huid afgestroopt, had een gehuwde Wener, die zes talen vloeiend sprak, wiens dochter later getrouwd was met baron Von Feuchtersleben en wiens kleinzoon Eduard in het begin van de negentiende eeuw naam maakte als dichter, de huid afgestroopt, had een gezien man uit de hogere Weense kringen, die lang geleden weliswaar een Afrikaans kind was geweest, genaamd Soliman, de huid afgestroopt, had een mens die in het begin van zijn leven op de slavenmarkt was ingeruild voor een paard en later was doorverkocht naar Messina, genaamd Soliman, om kort te gaan: een voormalige slaaf van een laag ras genaamd Soliman de huid afgestroopt. Hij had de huid daarna gelooid, op een corpus van hout gespannen en, tegen de wens van diens dochter, die verzocht 'de huid van haar vader aan haar te overhandigen teneinde hem volgens de regels ter aarde te kunnen bestellen', tegen de wens van die dochter haar opgezette vader ter stichting van het Weense publiek in een vitrine op de vierde verdieping van het Keizerlijk Naturaliënkabinet gezet. Het veren rokje waarmee de Moor was uitgedost, was - wetenschappelijk niet geheel correct - afkomstig van Zuid-Amerikaanse indianen, maar het exotische aspect van het preparaat kwam daardoor veel beter tot zijn recht. Heel even stelde Richard zich voor dat in een vitrine in het staatsmuseum van Caïro bijvoorbeeld de opgezette archeoloog Heinrich Schliemann zou staan, gekleed in een Spaans stierenvechterskostuum of in Mongoolse klederdracht van schapenleer en zijde.