Visionary Art Quotes

The artist’s artistic brush stroke of colour... Fractionally exists within the art canvas cover... Unaware of its existence in the art’s totality... Absolute devoid of the art’s true reality... Experiencing within the art is mere illusion… Truth of the art lies in the depth of the vision… For the visionary truth to become experience... Requires that certain conscious distance… Detaching from the perceived abode... Deviating from the miscode to decode... Maya illusionary stage manifests for the play… As the actor enacts the illusionary Leela play... Viewing the play is must from an audience eye... Where all the illusionary play theatrics lie… Observing the art as the non intruder... Is the liberating clarity for the art observer…

Who Am I? I’m a creator, a visionary, a poet. I approach the world with the eyes of an artist, the ears of a musician, and the soul of a writer. I see rainbows where others see only rain, and possibilities when others see only problems. I love spring flowers, summer’s heat on my body, and the beauty of the dying leaves in the fall. Classical music, art museums, and ballet are sources of inspiration, as well as blues music and dim cafes. I love to write; words flow easily from my fingertips, and my heart beats rapidly with excitement as an idea becomes a reality on the paper in front of me. I smile often, laugh easily, and I weep at pain and cruelty. I'm a learner and a seeker of knowledge, and I try to take my readers along on my journey. I am passionate about what I do. I learned to dream through reading, learned to create dreams through writing, and learned to develop dreamers through teaching. I shall always be a dreamer. Come dream with me.

My ears hear colors and my eyes see sounds.

Jesus’s early followers formed a movement of dreamers and visionaries.

To apply oneself to great inventions, starting from the smallest beginnings, is no task for ordinary minds; to divine that wonderful arts lie hid behind trivial and childish things is a conception for superhuman talents.

Michelangelo is often quoted as having said that inside every block of stone or marble dwells a beautiful statue; one need only remove the excess material to reveal the work of art within. If we were to apply this visionary concept to education, it would be pointless to compare one child to another. Instead, all the energy would be focused on chipping away at the stone, getting rid of whatever is in the way of each child’s developing skills, mastery, and self-expression.

The life of faith is less about gathering information than it is about expanding imagination. The movement Jesus started was a movement of dreamers and visionaries, not a movement of academics and theologians.

All that we call ideal in Greek or any other art, because to us it is false and visionary, was, to the makers of it, true and existent.

Invisible prose only!" rules out the sparkling style of [writers]. . . For [whom] vivid prose, and the visionary mind it evinces, rich with speculation, insight, and subjectivity, is the craft and offers a unique caliber of truth. Is there any other art form one would praise by saying it's "invisible"? By definition, art transcends the ordinary, calls attention to itself, and offers virtuosity as its calling card. One that makes it possible to do what metaphor does so well: illuminate what can't be wholly understood.

A visionary company is like a great work of art. Think of Michelangelo’s scenes from Genesis on the ceiling of the Sistine Chapel or his statue of David. Think of a great and enduring novel like Huckleberry Finn or Crime and Punishment. Think of Beethoven’s Ninth Symphony or Shakespeare’s Henry V. Think of a beautifully designed building, like the masterpieces of Frank Lloyd Wright or Ludwig Mies van der Rohe. You can’t point to any one single item that makes the whole thing work; it’s the entire work—all the pieces working together to create an overall effect—that leads to enduring greatness.

Excerpt from Ursula K Le Guin's speech at National Book Awards Hard times are coming, when we’ll be wanting the voices of writers who can see alternatives to how we live now, can see through our fear-stricken society and its obsessive technologies to other ways of being, and even imagine real grounds for hope. We’ll need writers who can remember freedom – poets, visionaries – realists of a larger reality. Right now, we need writers who know the difference between production of a market commodity and the practice of an art. Developing written material to suit sales strategies in order to maximise corporate profit and advertising revenue is not the same thing as responsible book publishing or authorship. Yet I see sales departments given control over editorial. I see my own publishers, in a silly panic of ignorance and greed, charging public libraries for an e-book six or seven times more than they charge customers. We just saw a profiteer try to punish a publisher for disobedience, and writers threatened by corporate fatwa. And I see a lot of us, the producers, who write the books and make the books, accepting this – letting commodity profiteers sell us like deodorant, and tell us what to publish, what to write. Books aren’t just commodities; the profit motive is often in conflict with the aims of art. We live in capitalism, its power seems inescapable – but then, so did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art. Very often in our art, the art of words. I’ve had a long career as a writer, and a good one, in good company. Here at the end of it, I don’t want to watch American literature get sold down the river. We who live by writing and publishing want and should demand our fair share of the proceeds; but the name of our beautiful reward isn’t profit. Its name is freedom.

I think hard times are coming, when we will be wanting the voices of writers who can see alternatives to how we live now, and can see through our fear-stricken society and its obsessive technologies, to other ways of being. And even imagine some real grounds for hope. We will need writers who can remember freedom: poets, visionaries—the realists of a larger reality. Right now, I think we need writers who know the difference between production of a market commodity and the practice of an art. The profit motive is often in conflict with the aims of art. We live in capitalism. Its power seems inescapable; so did the divine right of kings. … Power can be resisted and changed by human beings; resistance and change often begin in art, and very often in our art—the art of words. I’ve had a long career and a good one, in good company, and here, at the end of it, I really don’t want to watch American literature get sold down the river. … The name of our beautiful reward is not profit. Its name is freedom.

It is well known that in exchange for visionary powers, artists often suffer with extreme sensitivity and violent changeability of temperament. A philosophical crisis, or simply boredom of inactivity, could send [Holmes] spinning into a paralysed gloom from which [I] could not retrieve him.

The best entrepreneurs are not the best visionaries. The greatest entrepreneurs are incredible salespeople. They know how to tell an amazing story that will convince talent and investors to join in on the journey.

Visionaries are those in the field of art and science who recognize novel patterns. They see beauty before the rest of us do.

You cry, "give us war!" You are visionaries. When will you become thinkers? The thinkers do not look for power and strength from any of the dreams that constitute military art: tactics, strategies, fortifications, artillery and all that rubbish. They do no believe in war, which is a fantasy; they believe in chemistry, which is a science. They know the way to put victory into an algebraic formula.

I beheld before me an animated Corse. Her countenance was long and haggard; Her cheeks and lips were bloodless; The paleness of death was spread over her features, and her eye-balls fixed stedfastly upon me were lustreless and hollow. I gazed upon the Spectre with horror too great to be described. My blood was frozen in my veins. I would have called for aid, but the sound expired, ere it could pass my lips. My nerves were bound up in impotence, and I remained in the same attitude inanimate as a Statue. The visionary Nun looked upon me for some minutes in silence: There was something petrifying in her regard. At length in a low sepulchral voice She pronounced the following words. "Raymond! Raymond! Thou art mine! Raymond! Raymond! I am thine! In thy veins while blood shall roll, I am thine! Thou art mine! Mine thy body! Mine thy soul!---

All art is a kind of exorcism. This is what gives art its power to change the conditions of our life.

The light was crude. It made Artaud's eyes shrink into darkness, as they are deep-set. This brought into relief the intensity of his gestures. He looked tormented. His hair, rather long, fell at times over his forehead. He has the actor's nimbleness and quickness of gestures. His face is lean, as if ravaged by fevers. His eyes do not seem to see the people. They are the eyes of a visionary. His hands are long, long-fingered. Beside him Allendy looks earthy, heavy, gray. He sits at the desk, massive, brooding. Artaud steps out on the platform, and begins to talk about " The Theatre and the Plague." He asked me to sit in the front row. It seems to me that all he is asking for is intensity, a more heightened form of feeling and living. Is he trying to remind us that it was during the Plague that so many marvelous works of art and theater came to be, because, whipped by the fear of death, man seeks immortality, or to escape, or to surpass himself? But then, imperceptibly almost, he let go of the thread we were following and began to act out dying by plague. No one quite knew when it began. To illustrate his conference, he was acting out an agony. "La Peste" in French is so much more terrible than "The Plague" in English. But no word could describe what Artaud acted out on the platform of the Sorbonne. He forgot about his conference, the theatre, his ideas, Dr. Allendy sitting there, the public, the young students, his wife, professors, and directors. His face was contorted with anguish, one could see the perspiration dampening his hair. His eyes dilated, his muscles became cramped, his fingers struggled to retain their flexibility. He made one feel the parched and burning throat, the pains, the fever, the fire in the guts. He was in agony. He was screaming. He was delirious. He was enacting his own death, his own crucifixion. At first people gasped. And then they began to laugh. Everyone was laughing! They hissed. Then, one by one, they began to leave, noisily, talking, protesting. They banged the door as they left. The only ones who did not move were Allendy, his wife, the Lalous, Marguerite. More protestations. More jeering. But Artaud went on, until the last gasp. And stayed on the floor. Then when the hall had emptied of all but his small group of friends, he walked straight up to me and kissed my hand. He asked me to go to the cafe with him.

This does not mean that science is just the art of making measurable predictions. Some philosophers of science overly circumscribe science by limiting it to its numerical predictions. They miss the point, because they confuse the instruments with the objectives. Verifiable quantitative predictions are instruments to validate hypotheses. The objective of scientific research is not just to arrive at predictions: it is to understand how the world functions; to construct and develop an image of the world, a conceptual structure to enable us to think about. Before being technical, science is visionary.

Music is for souls & hearts to dance & sing. Art is for expressing your visionary being. Words are tools for exploring & celebrating. Time is a pool to swim & dream & create in. Waste not one jot of what you are given! Use everything you've got to maximise living.

Most people who describe themselves as visionaries are actually saying something quite different. They are abdicating their responsibility for the details. Details matter. The more someone or something matters to us, the more the details relating to them matter to us.

Whatever happened to Search and Discovery in the arts of today? Artists must behave like archaeologists if the guts of visionary filmmaking can happen. They will have to return to the depths of the collective unknown to find out what we're all about. From that universal dream our most individual and forceful voices can emerge.

Art is childhood, after all,” wrote Rilke

BEAUTY. The visionary authority of Childs’s work resides, in part, in its lack of rhetoric. Her strict avoidance of cliché, and of anything that would make the work disjunctive, fragmented. The refusal of humor, self-mockery, flirtation with the audience, cult of personality. The distaste for the exhibitionistic: movement calling attention to itself, isolatable “effects.” Beauty as, first of all, an art of refusal.

Transcendental artists are messengers. Their symbolic vocabulary originates from the infinite wisdom of higher spheres, in a non-referential time/space continuum... the way of the shaman. The presence of glyphs speaks a universal language of the soulthat transcends words. If one considers the notion of parallel realities and the plurality of dimensional realms, the premise of art as "consciousness-provoking vessel" can be viewed as an organic and natural occurrence.

Think of her as you thought of the first woman who quickened the pulses within you that the rest of her sex had no art to stir. Let the kind, candid blue eyes meet yours, as they met mine, with the one matchless look which we both remember so well. Let her voice speak the music that you once loved best, attuned as sweetly to your ear as to mine. Let her footstep, as she comes and goes, in these pages, be like that other footstep to whose airy fall your own heart once beat time. Take her as the visionary nursling of your own fancy; and she will grow upon you, all the more clearly, as the living woman who dwells in mine.

Idealism, particularly idealism of a cultural or artistic kind, has become such a rare phenomenon in the contemporary world that it may often be hard for us to feel our way into the spiritual background of much of the art, music, and literature that burst upon an unsuspecting European public in the last years of the 19th century and the early years of the 20th. It has become fashionable to suppose that what we have come to term variously “modern art”, “modern music”, or simply “modernism” took its origins in some collective artistic rejection of the styles and norms of the past, and in an adoption of a sceptical and anti-idealistic world view. While it is true that the “iconoclastic” movements of expressionism, futurism, dada, and early surrealism relied for much of their public impact on shock-tactics and a philosophy of ‘making it new’, a close study of their artistic programmes shows that their primary concern was less the destruction of the past than the reinterpretation of both past and present in terms of a visionary future, a hoped-for world in which the artist, like some divinely inspired child, would endow mankind with a new innocence, exorcising from it the demons of war, revolution, technology, and social organisation. Such a transformed humanity would be a worthy successor to the mankind of previous ages

The highest-paid individuals are the visionaries, strategists, and creative problem solvers of the world. Your vision is greater than yourself. It gives you a soft direction to focus the goals and actions that stem from it. Your vision should be big, not limited by belief, and emotionally compelling when you marinate your mind in the growing detail.

There is a movement afoot to convince artists that they are simply another type of entrepreneur. On the surface, this is a seemingly harmless and understandable rejection of the starving artist trope. Yet people seem to have forgotten that, since the beginning of recorded history, artists' cultural role went far beyond simply making a product to peddle.

And then I recalled those mysterious stories about the waxworkers of the middle ages and the public reprobation attached to their trade. Did they not live in cellars, in the eternal twilight propitious for enchantments and apparitions? Their visionary art (who, more than they, evoked a truer image of life?) was closely related to that of magicians: bewitchments were carried out with wax figures, witch trials are full of them, and one particular legend haunted me above all, that of the modeler from Anspach, who slowly squeezed the soul and the life out of his model in order to animate his painted waxwork and then, having finished his work of art, awaited nightfall to go and bury the corpse in the ditch at the city walls.

There are two ways a linchpin can use 'no.' The first is to never use it. There's a certain sort of indispensable team member who always finds a yes. She always manages to find a way to make things happen, and she does it. It's done. Yes. Those people are priceless. Amazingly, there's a second kind of linchpin. This persona says 'no' all the time. She says no because she has goals, because she's a practical visionary, because she understands priorities. She says no because she has the strength to disappoint you now in order to delight you later. When used with good intent, this negative linchpin is also priceless. She is so focused on her art that she knows that a no now is a worthy investment for the magic that will be delivered later.

In his visionary treatises or recitals fashioned after the recitals of Ibn Sina, Suhrawardi uses marvelous symbol and imagery. In the recital titled ‘Aql-surkh or ‘The Red Intellect’ he encounters a personage whose countenance is red. When he asks why he is this color the personage replies that he is a luminous Elder and is really white, but that he was thrown into a black pit, and when mixed with black, every white thing connected to the light appears red, like the sun at its setting or after the dawn. When asked where he comes from, the personage replies that he resides beyond Mount Qaf, and he tells Suhrawardi, who appears in the recital as a trapped falcon, a symbol of the intellect, that his nest is there too, but he has forgotten it

A visionary is not some dude who creates the latest gadget or a start-up. A Visionary is someone who actually has vision. A Creative Visionary envisions and only gives feeling energy to that which they intend. This focused energy moves them into conscious action. A Creative Visionary is not an idealist with their head in the sand. They see the reality of pain, suffering, and confusion in the world and are moved by ceaseless compassion for their fellow man to imagine and act in order to create a better world. They cross the abyss and return transformed. Their compassion harmonises with wisdom and a disciplined mind. Embodiment is a Creative Visionary's highest aim. A vision only comes to fruition through the people who have the will to embody it.

Somehow, those Russian artists were able to reduce everything to nothing in order to expose more than we knew was there. It’s about balance and optics, tension and texture. But more than that, it’s about the unconscious. Art that we like but we don’t quite know why. Malevich, Tatlin, Rodchenko, Popova and Lissitzky were brilliant visionaries, the pioneers of the first totally abstract art.

Art is two parts agency and one part inner heat. The artist loves going down rabbit holes, working toward and against something at the same time, translating sensory and extrasensory impressions that all have their own sovereignty or joy, each of them on a journey to bring something back from a personal underworld, to build a new body out of disparate parts and materials. In this way, art is something like an undoing of death.

Nash’s genius was of that mysterious variety more often associated with music and art than with the oldest of all sciences. It wasn’t merely that his mind worked faster, that his memory was more retentive, or that his power of concentration was greater. The flashes of intuition were non-rational. Like other great mathematical intuitionists — Georg Friedrich Bernhard Riemann, Jules Henri Poincaré, Srinivasa Ramanujan — Nash saw the vision first, constructing the laborious proofs long afterward.

At the same time, art cannot be understood in terms of purpose. As the sculptor Charles Ray has said, art is “for absolutely nothing.” To make, or experience, art is to enter a kind of free zone; it slows us down, places us in some epistemological estuary, takes us into the wild. We make art from our flaws, fragilities, perversities, from our need to communicate or be entertained or stave off death, to create our own mating dances, to deliver our own children, to mourn. Art is bigger than mere subject matter. It is as big as life.

Thank you Neil, and to the givers of this beautiful reward, my thanks from the heart. My family, my agent, editors, know that my being here is their doing as well as mine, and that the beautiful reward is theirs as much as mine. And I rejoice at accepting it for, and sharing it with, all the writers who were excluded from literature for so long, my fellow authors of fantasy and science fiction—writers of the imagination, who for the last 50 years watched the beautiful rewards go to the so-called realists. I think hard times are coming when we will be wanting the voices of writers who can see alternatives to how we live now and can see through our fear-stricken society and its obsessive technologies to other ways of being, and even imagine some real grounds for hope. We will need writers who can remember freedom. Poets, visionaries—the realists of a larger reality. Right now, I think we need writers who know the difference between the production of a market commodity and the practice of an art. Developing written material to suit sales strategies in order to maximize corporate profit and advertising revenue is not quite the same thing as responsible book publishing or authorship. (Thank you, brave applauders.) Yet I see sales departments given control over editorial; I see my own publishers in a silly panic of ignorance and greed, charging public libraries for an ebook six or seven times more than they charge customers. We just saw a profiteer try to punish a publisher for disobedience and writers threatened by corporate fatwa, and I see a lot of us, the producers who write the books, and make the books, accepting this. Letting commodity profiteers sell us like deodorant, and tell us what to publish and what to write. (Well, I love you too, darling.) Books, you know, they’re not just commodities. The profit motive often is in conflict with the aims of art. We live in capitalism. Its power seems inescapable. So did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art, and very often in our art—the art of words. I have had a long career and a good one. In good company. Now here, at the end of it, I really don’t want to watch American literature get sold down the river. We who live by writing and publishing want—and should demand—our fair share of the proceeds. But the name of our beautiful reward is not profit. Its name is freedom. Thank you.

Simple-lifers, Utopian socialists, spiritualists, occultists, theosophists, quietists, pacifists, futurists, cubists, zealots of all sorts in their approach to life and art, later to be relentlessly classified into their respective religious, political, aesthetic or psychological categories, were then thought of by the unenlightened as scarcely distinguishable one from another: a collection of visionaries who hoped to build a New Heaven and a New Earth through the agency of their particular crackpot activities, sinister or comic, according to the way you looked at such things. Dr Trelawney was a case in point.

What follows is the sum and substance of a remarkable year in a great artist’s life— Alexander Wainwright. He was at the pinnacle of his career when his art took a strange turn and I began to fear he had become possessed by some devil. But I was only beginning to understand the power of his passionate and hungry spirit, which nearly devoured him in his search for his new art—and his new life. James Helmsworth, [art dealer for Alexander Wainwright] in The Drawing Lesson. Enter for the giveaway of ten autographed copies of The Drawing Lesson, the first in The Trilogy of Remembrance starting on July 31st until August 31st, 2014.

Its visionaries are driven by a new and very different set of values. This work reminds us that the contemporary museum, long revered as an elite sanctuary, now beckons as a new commons: a town square, a venue for community building, even an agent of change. A major factor in this is the influence of social media—especially Instagram—with its effect of sidestepping gatekeepers and fostering ardent fandom, debate, cross-pollination, societal change, and a new kind of citizenship. The result has been a great opening, a time of schism and volatility, a feeling of dams bursting everywhere. Everyone felt they had a stake in whatever the future might hold. The art of these decades has shown us that the world didn’t begin long ago, but rather that each of us creates the world anew every day.

I think that frequently, many times in the beginning of our path as artists, we do have to deal with our upsets and our negativeness - in regard to, mostly, ourselves. We may be taking it out on our loved ones or people close to us, but really we're just mad at ourselves for not giving ourselves the time to devote to our inner development and doing the soul work through our art work. So there's a certain amount of working through that. You may have to cry, you may have to dance, you may have to get the energy moving in whatever way you can, and if you need to scream as you work that's as much of a prayer as the more refined kinds of artist's prayers. Sometimes it's a more direct kind of thing. You can scream in rage, you can scream your need for God, whatever's there for you. You've got to start where you're at. If you think that you can just start making spiritual art without addressing all the build-up of shadow material that you may be carrying around with you, and it's leaking out at the borders, then I don't think that's any good. You've got to be true. So wherever you're at, that's where you start. And as far as the artist creating spiritual or visionary art, I think that it's obvious and important that the artist experience the transpersonal states prior to them trying to bring it out in their work, otherwise they're just doing imitative or derivative kind of work. It has to be from some authentic inner experience, and as long as you've had some experience of your soul or spiritual reality in some way, or visionary reality, then by all means - if it's compelling, make pictures of it.

I’ve known Florence long, sir, but I’ve never known her so lovely as to-night. It’s as if the ghosts of her past were abroad in the empty streets. The present is sleeping; the past hovers about us like a dream made visible. Fancy the old Florentines strolling up in couples to pass judgment on the last performance of Michael, of Benvenuto! We should come in for a precious lesson if we might overhear what they say. The plainest burgher of them in his cap and gown had a taste in the matter! That was the prime of art, sir. The sun stood high in heaven, and his broad and equal blaze made the darkest places bright and the dullest eyes clear. We live in the evening of time! We grope in the gray dusk, carrying each our poor little taper of selfish and painful wisdom, holding it up to the great models and to the dim idea, and seeing nothing but overwhelming greatness and dimness. The days of illumination are gone! But do you know I fancy—I fancy”—and he grew suddenly almost familiar in this visionary fervor—“I fancy the light of that time rests upon us here for an hour! I have never seen the David so grand, the Perseus so fair! Even the inferior productions of John of Bologna and of Baccio Bandinelli seem to realize the artist’s dream. I feel as if the moonlit air were charged with the secrets of the masters, and as if, standing here in religious contemplation, we might—we might witness a revelation!” Perceiving at this moment, I suppose, my halting comprehension reflected in my puzzled face, this interesting rhapsodist paused and blushed. Then with a melancholy smile, “You think me a moonstruck charlatan, I suppose. It’s not my habit to hang about the piazza and pounce upon innocent tourists. But to-night I confess I’m under the charm. And then somehow I fancied you too were an artist!

The pacifist-humanitarian idea may indeed become an excellent one when the most superior type of manhood will have succeeded in subjugating the world to such an extent that this type is then sole master of the earth. This idea could have an injurious effect only in the measure in which its application became difficult and finally impossible. So, first of all, the fight, and then pacifism. If it were otherwise, it would mean that mankind has already passed the zenith of its development, and accordingly, the end would not be the supremacy of some moral ideal, but degeneration into barbarism and consequent chaos. People may laugh at this statement, but our planet moved through space for millions of years, uninhabited by men, and at some future date may easily begin to do so again, if men should forget that wherever they have reached a superior level of existence, it was not as a result of following the ideas of crazy visionaries but by acknowledging and rigorously observing the iron laws of Nature. What reduces one race to starvation stimulates another to harder work. All the great civilisations of the past became decadent because the originally creative race died out, as a result of contamination of the blood. The most profound cause of such a decline is to be found in the fact that the people ignored the principle that all culture depends on men, and not the reverse. In other words, in order to preserve a certain culture, the type of manhood that creates such a culture must be preserved, but such a preservation goes hand in hand with the inexorable law that it is the strongest and the best who must triumph and that they have the right to endure. He who would live must fight. He who does not wish to fight in this world, where permanent struggle is the law of life, has not the right to exist. Such a saying may sound hard, but, after all, that is how the matter really stands. Yet far harder is the lot of him who believes that he can overcome Nature, and thus in reality insults her. Distress, misery, and disease, are her rejoinders. Whoever ignores or despises the laws of race really deprives himself of the happiness to which he believes he can attain, for he places an obstacle in the victorious path of the superior race and, by so doing, he interferes with a prerequisite condition of, all human progress. Loaded with the burden of human sentiment, he falls back to the level of a helpless animal. It would be futile to attempt to discuss the question as to what race or races were the original champions of human culture and were thereby the real founders of all that we understand by the word ‘humanity.’ It is much simpler to deal with this question in so far as it relates to the present time. Here the answer is simple and clear. Every manifestation of human culture, every product of art, science and technical skill, which we see before our eyes to-day, is almost, exclusively the product of the Aryan creative power. All that we admire in the world to-day, its science and its art, its technical developments and discoveries, are the products of the creative activities of a few peoples, and it may be true that their first beginnings must be attributed to one race. The existence of civilisation is wholly dependent on such peoples. Should they perish, all that makes this earth beautiful will descend with them into the grave. He is the Prometheus of mankind, from whose shining brow the divine spark of genius has at all times flashed forth, always kindling anew that fire which, in the form of knowledge, illuminated the dark night by drawing aside the veil of mystery and thus showing man how to rise and become master over all the other beings on the earth. Should he be forced to disappear, a profound darkness will descend on the earth; within a few thousand years human culture will vanish and the world will become a desert.

What is the meaning of the antithetical concepts Apollonian and Dionysian which I have introduced into the vocabulary of Aesthetic, as representing two distinct modes of ecstasy? — Apollonian ecstasy acts above all as a force stimulating the eye, so that it acquires the power of vision. The painter, the sculptor, the epic poet are essentially visionaries. In the Dionysian state, on the other hand, the whole system of passions is stimulated and intensified, so that it discharges itself by all the means of expression at once, and vents all its power of representation, of imitation, of transfiguration, of transformation, together with every kind of mimicry and histrionic display at the same time. The essential feature remains the facility in transforming, the inability to refrain from reaction (—a similar state to that of certain hysterical patients, who at the slightest hint assume any role). It is impossible for the Dionysian artist not to understand any suggestion; no outward sign of emotion escapes him, he possesses the instinct of comprehension and of divination in the highest degree, just as he is capable of the most perfect art of communication. He enters into every skin, into every passion: he is continually changing himself. Music as we understand it today is likewise a general excitation and discharge of the emotions; but, notwithstanding this, it is only the remnant of a much richer world of emotional expression, a mere residuum of Dionysian histrionism. For music to be made possible as a special art, quite a number of senses, and particularly the muscular sense, had to be paralysed (at least relatively: for all rhythm still appeals to our muscles to a certain extent): and thus man no longer imitates and represents physically everything he feels, as soon as he feels it. Nevertheless that is the normal Dionysian state, and in any case its primitive state. Music is the slowly attained specialisation of this state at the cost of kindred capacities.

The elephant in this big room, obviously, is context. In America, the twenty-first century began with the contested election of 2000, followed shortly thereafter by the terrorist attacks of September 11, 2001. From there came the wars in Iraq and Afghanistan, the financial collapse of 2008, the lightning-rod election of the first black president, the rise of antidemocratic authoritarianism at the hands of his successor, and finally a second contested election and a worldwide pandemic that saw the death of one million Americans. All of which is to say: None of the art made in this period happened under “normal” conditions.

So when you come across some observations that do not fit the standard explanation, let your mind wander to see whether some radically different interpretation might do a better job. Perhaps you will think of something that will fit both the new data and the old data and thereby supplant the standard expla- nation. Toy with different perspectives. Look for the unusual. Try consciously to innovate. Train yourself to imagine new schemes and innovative ways to fit the pieces together. Seek the joy of discovery. Always test your new thoughts against the facts, of course, in rigorous, cold-blooded, unemotional scientific manner. But play the great game of the visionary and the innovator as well.

we could reduce the failure rate by doing fewer projects of higher quality. Others believe that certain people have an innate gift of knowing the right thing to build. If we can find enough of these visionaries and virtuosos, our problems will be solved. These “solutions” were once considered state of the art in the nineteenth century, too, before people knew about modern management.

In a world where we tend to draw a sharp line between the sciences and the arts, between the subjective and the objective, Humboldt's insight that we can only truly understand natures by using our imagination makes him visionary

In a world where we tend to draw a sharp line between the sciences and the arts, between the subjective and the objective, Humboldt's insight that we can only truly understand nature by using our imagination makes him visionary

Give me the choice between a man of tremendous brains and ability but without tenacity, and one of ordinary brains but with a great deal of tenacity and I will select the tenacious one every time.

An idea suggested by an entry-level analyst could be ridiculed as “outlandish” and “silly Millennial talk”; but when shared by an SVP, the very same idea becomes “visionary” and “disruptive.” So goes human nature.

The three sisters would come of age in an era now known as the American Renaissance, when arts and ideas flourished in an environment of intellectual freedom made possible by the new Republic and its visionary Constitution. Boston,

Provocative art can pierce your nervous system, touching arts of you that rhetoric cannot. A charged, layered object can haunt viewers for days, as their unconscious works to unpack it. Art instigates, nudges the conversation along, and ultimately advances civilization.

It is frightening for me to hear freshman art students talk about "branding," because, know it or not, they represent the last frontier. If the artists give up, there is no one else left. If we throw away our agency, being seduced into a corporate mentality so we can simply make our product to get our piece of the pie, we put another nail in the coffin of art's higher power.

The Versed Shapeshifter by Stewart Stafford The poet casts profundity's light, On untouched depths of consciousness, Truffles mined from reality's seam, Sharpened quills from a full armoury. Visionary heralds, core journalists, Healers of the heart's collective scars, Distilling matured verity from mystic grapes, Tossing tropes to make their alchemist salad. Inventors, composers, focusing global eyes, A seismic shift rebooting sentient bedrock, Cartographers mapping the human way, A bard's verbal progeny on boundless legs. © 2024, Stewart Stafford. All rights reserved.

I think hard times are coming, when we will be wanting the voices of writers who can see alternatives to how we live now, and can see through our fear-stricken society and its obsessive technologies to other ways of being, and even imagine some real grounds for hope. We will need writers who can remember freedom: poets, visionaries—the realists of a larger reality. … We live in capitalism. Its power seems inescapable. So did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art, and very often in our art, the art of words.

The “Art of Possible” can only be achieved through visionary IT leadership, as well as the art and science of modern IT management.

My job is to paint visionary pictures, from my own vision quest as well as from the interpretation of the visions of others. The art I produce is a practical form of magic that provides physical access to the imaginary realm. This book would have formed the basis for my own vision quest had it only been written earlier, but it shines with fascination to minds of all ages. It is a signpost to avenues by which the mind can see into the magical workings of creation in ways beyond the everyday human experience.

Bringing a novel to light - revealing the form and cadence, shadows and demeanor of a protagonist constructed from thin air - linking scenes and synchronicity across translucent time - holding up a glass brimming with chilled, never-tasted liquid, then sipping from it with intoxicated focus - allowing lovers to make a perilous mess of things, fall apart and nakedly come back together again - looking through conjured windows deep into someone else’s snow-bound solitude, feeling utterly alone yet being all-connected: this is not writing. It’s world-creating. It’s raw, exposed dreaming. It’s humbling. At first too personal and intimate to share, it evolves like a child into a life of its own until I have no say in what comes next. It’s what I wake at 4am to say Yes to, the spinning possibility of a new story relentlessly commanding me to write it down so it can whirl in your experience.

A typical Celestine will devote a large proportion of their time to passing through the inscribed sectors of the planet studying the writings, either alone or accompanied by companions with whom to share comments. This is a favourite pastime among them, and as they travel towards the boundaries of the inscribed regions they can watch the ongoing work of those Celestines that have been chosen to record their ideas – tirelessly twisting, pausing to gather energy, then exerting themselves again; painstakingly working the same patch of dust several thousand times over to shape each individual furrow; to capture, symbol by symbol, the knowledge they have contributed to the Celestine corpus. There is great pride and precision, as well as immense labour, in their toil. Before they commence work, the piece of ground that will house the writing will be chosen very carefully for its aspect. Then, the most favourable angle to the light will be calculated, for the orientation of the wording. The language used is of the most poetic and grandiose sort, quite different from the vernacular, and the symbols themselves are embellished with flourishes, extravagances and curlicues that are unique to the creator. Celestines love to observe this work, which constitutes the pinnacle of their art and of their ceaseless thought-endeavours, and embodies their very reason for being.

The idea that this technology is a new business model for animation is bullshit. Good luck with that! The artists and storytellers will want to continue to grow the technology, so this year’s technology will be obsolete in ten years.” Katzenberg was right, of course. No matter how much technology you throw at the art of making an animated movie, a good one will always be expensive. Pixar made Toy Story for around $20 million (a number that doesn’t include what Disney spent on it for promotion and distribution). Pixar’s 2013 movie, Monsters University, is rumored to have cost around $200 million, marketing included.

Most people associate the Nazis with book burning. Everyone has seen on television or the Internet the Dantesque images of students throwing hundreds of books into the fire in the streets and squares of German cities in the 1930s. True funeral pyres of Western civilization, they were a barbaric prelude to the burning of human beings, exactly as the German poet Heinrich Heine described in a visionary way. Much less well-known is the meticulous looting carried out by the Nazis in libraries throughout Europe. Prior to my conversation with Albert, I had heard something about it, but was unaware of both the reasons why this massive theft had taken place or of its size. While the theft of a work of art is usually done out of artistic passion or simple greed, what could have driven the Nazis to transport tons of books in train wagons across Europe? And it was not a selective exercise, no—the books were taken in bulk without any sorting. That is, they were removed without prior knowledge of their value. One particularly striking fact explains the Nazi regime’s interest in Jewish books. According to one of its most influential ideologues, Alfred Rosenberg, it was important for future generations to know the enemy after their final defeat. That is why public and private Jewish libraries were ransacked throughout Europe to fill the shelves of the Institut zur Erforschung der Judenfrage, the Institute for Research on the Jewish Question. In the eyes and most delirious dreams of the Nazis, it was a research institute dedicated to studying a people that was doomed to extinction.

The first time the power of art pulled the rug out from under me, I was nineteen years old. It was the early 1970s. I was in Europe for the first time, on my way through Paris to Warsaw with my Polish girlfriend, on a bizarre quest to sell blue jeans behind the Iron Curtain. On that day, during my first pilgrimage to the Louvre, I laid eyes on a painting that seemed the sum of all things. It was a cosmographic perpetual motion machine, a purgatorial charnel house—as far from the warmth of any human sun as anything I’d ever beheld. The moment I saw it, something like Krakatoa went off within me. That painting was Théodore Géricault’s The Raft of the Medusa. Standing before it, I felt the gravitational field of my life shift forever. The Raft of the Medusa is massive in scale, yet its subject matter is as simple as cows in a field, bathers by a river, or a birth in a manger. We see a large raft bearing a crowd of male figures, at the mercy of heaving seas. Their poses suggest a classical frieze, like Elgin marbles from hell—a collective ash heap of individually vivisected souls stripped bare of humanity. Each of the men is marked by a distinct, unforgettable gesture. Some are reckoning with their wounds; others seem to be coming to terms with death; some seem closer to damnation than to life. Every one of them appears hopeless. Our eyes are compelled by shafts of flickering phosphorescent light that rake at angles across the figures in the painting’s foreground, tracing its dark pyramidal structure. It’s a vision of jagged complexity and somehow also of profound grandeur.

That day, as I contemplated the Medusa, I felt the shattering heartbreak of a long-forgotten memory. My mind carried me back to a moment when I was ten years old, left by my mother to wander alone in the Art Institute of Chicago, scared and confused, until a small colorful diptych by Giovanni di Paolo beckoned to me from across a gallery. A portal opened. A month later, my mother committed suicide. The portal slammed shut. I never looked at art again. Until I did. —

Business can also be seen as a work of art requiring an artist, a task of prophecy requiring a visionary, a social responsibility requiring a judge, a job of growing requiring skills like those of a farmer or parent, a challenge of educating the public requiring skills like those of a teacher, and the like.

Pageantry is a visionary art which has been used, from time immemorial, as a political instrument. The gorgeous fancy dress worn by kings, popes and their respective retainers, military and ecclesiastical, has a very practical purpose—to impress the lower classes with a lively sense of their masters’ superhuman greatness.

There are several books on Walter Potter---one is called Sweet Death: A Feast With Kittens; another, The Victorian Visionary: Inventor of Kitsch. There are some on carnivals, fairgrounds, prison murals, prison art, and a hefty book with a title in gold, Portraits of Icons: From Alexamenos Graffito to Peter Blake's Sgt. Pepper. There are also books I have seen before, books I used to, until very recently when I lost my suitcase, own. One is a book on the abstract expressionist Bernice Bing; colors from her piece Burney Falls cascade down the spine---deep red, tinged with orange, outlined in black against white, brown and peach like skin. There's a book on the performance artist Senga Nengudi too, and another on the painter Amrita Sher-Gil. I take this last one off the shelf, and it falls open to a middle page, which has a picture of her painting Three Girls on it. I stand there for a moment, looking at the three girls' faces: calm, patiently waiting. They are huddled close together, as though perhaps they are sisters, but I don't think they could be; they look too different. I had a postcard of this painting taped to my wall while I was growing up. It was blank on the other side, but I kept it because I had found it tucked in the wooden frame of one of Dad's paintings. It went missing at some point, but while I had it, I looked at it often and felt that I knew---like really knew, as though I had a sense about these things---that the girls depicted were vampires, and that they were still out there in the world, looking exactly the same as when Sher-Gil painted them in 1935, and that I would one day meet them. The painting, I decided when I was a child, depicted the three girls quietly waiting for three brothers to come out of a house so that they could eat them.

A visionary entrepreneur, Giampalo Boschetti has mastered the art of real estate and hotel investments. His meticulous attention to market trends and innovative strategies have led to outstanding achievements. His commitment to excellence and ability to transform properties into thriving ventures solidify his standing as a leader in the San Francisco market.

One forceful CEO recently lamented to me about the absence of “real leaders” in his organization. He felt his company was full of compliant people, not committed visionaries. This was especially frustrating to a man who regards himself as a skilled communicator and risk taker. In fact, he is so brilliant at articulating his vision that he intimidates everyone around him. Consequently, his views rarely get challenged publicly. People have learned not to express their own views and visions around him. While he would not see his own forcefulness as a defensive strategy, if he looked carefully, he would see that it functions in exactly that way.

speaking of them, it is necessary to remember that what they left recorded on paper was the least important part of their lives. It is the lesson that is expressed in the Chuang Tzu book in the story of the Duke of Ch’i and his wheelwright. It tells how the wheelwright saw the Duke reading, and called to ask him what the book was about. The words of sages,’ the Duke explained. The lees and scum of bygone men,’ the wheelwright said; and when the irritated Duke asked him what the devil he meant by this, the wheelwright told him: There is an art in wheel-making that I cannot explain even to my son. It cannot be put into words. That is why I cannot let him take over my work, and I am still making wheels myself at seventy. It must have been the same with the sages: all that was worth handing on died with them. The rest they put into their books. That is why I said you are reading the lees and scum of dead men.’ This lesson should be especially taken to heart in reading the works of the visionaries dealt with in the following chapters. The essentials of what they saw died with them. Their value for us does not lie in the ‘visions’ their words can conjure up for us, but in the instructions they left for anyone who should want to see the same things that they saw. It lies, in other words, in the discipline they recommend

The unconscious music of the folk has all the marks of fine art; that it is wholly free from the taint of manufacture, the canker of artificiality; that it is transparently pure and truthful, simple and direct in its utterance.

Under the name The Waterson Family, they made their recording debut for Topic, one of four upcoming acts on the showcase compilation Folk-Sound of Britain (1965). Dispensing with guitars and banjos, they hollered unadorned close harmonies into a stark, chapel-like hush. The consensus was that they ‘sounded traditional’, but in a way no other folk singers did at the time. It was the result of pure intuition: there was no calculation in their art. When Bert Lloyd once commented joyfully on their mixolydian harmonies, they had to resort to a dictionary. Later in 1965 the quartet gathered around the microphone set up in the Camden Town flat of Topic producer Bill Leader and exhaled the extraordinary sequence of songs known as Frost and Fire. In his capacity as an artistic director of Topic, Lloyd curated the album’s contents. Focusing on the theme of death, ritual sacrifice and resurrection, he subtitled it A Calendar of Ritual and Magical Songs. The fourteen tracks are divided by calendrical seasons, and the four Watersons begin and end the album as midwinter wassailers, a custom popularised in the late eighteenth and early nineteenth centuries as groups of singers – ‘waits’ – made the rounds of the towns and villages, proffering a decorated bowl of spiced ale or wine and asking – in the form of a song, or ‘wassail’ – for a charitable donation. Midwinter comes shortly before the time of the first ploughing in preparation for the sowing of that year’s new crop, and the waits’ money, or food and drink, can be considered a form of benign sacrifice against the success of the next growth and harvest. The wassail-bowl’s rounds were often associated with the singing of Christmas carols.

But it was Ireland’s mercurial folklore that supplied Bax with the dominant voice in his compositions. Beginning with Cathaleen-na-Hoolihan (1905), written three years after encountering Yeats, the list of his tone poems (spanning the years 1909–31) reads like the contents of an Arts and Crafts compendium of decadent fairy tales: In the Faery Hills, Rosc-catha, Spring Fire, Nympholept, The Garden of Fand, November Woods, Tintagel, The Happy Forest, The Tale the Pine Trees Knew. A sensualist and erotic adventurer (in 1910 he pursued a ukrainian girl he was infatuated with from St Petersburg to Kiev), Bax created lush, richly foliated sound-forests that attempted to conjure up a sense of narcotic abandon and the intoxicating conjunction of myth and landscape. In the Faery Hills (1909) takes its cue from a section in Yeats’s Wanderings of Oisin in which the Sídhe force a troubadour to sing them a song. Aware of their reputation as festive types, Oisin launches into his most joyous ditty. To the Sídhe, it still sounds like the most depressing dirge they’ve ever heard, so they toss his harp into a pool and whisk him away to show him how to party like it’s AD 99. Bax claimed to have been ‘possessed by Kerry’s self’5 while writing it.

Aleksei was reading a copy of Great Expectations. ‘Great Expectations,’ said Yelena. ‘Are you enjoying it?’ ‘Yes.’ ‘Where did you get it?’ ‘A man was handing them out.’ ‘A man was handing them out?’ ‘On Nevsky.’ ‘But why?’ said Stasia. ‘I didn’t ask him, everybody took one.’ ‘Did he ask for food?’ said Yelena. ‘No.’ ‘Money?’ asked Stasia. ‘No.’ There was a little boy on the cover. His hand was held up by a man and in the distance, a ship sailed towards the horizon. Yelena couldn’t tell if he was waving to the ship or not. As Aleksei read, Yelena sat by the window sipping cold tea and drifted. Leningrad was being stripped of all that could save her, people, guns and ammunition. It seemed like the end. But here was a man trying to feed the population with art. There was nothing he could do about their bellies but the spirit could be fed. This man, she decided, was a visionary.

In his acclaimed work Built to Last, Jim Collins describes the culture of “visionary companies.” Two of the four traits he observed in the culture of great companies are related to their actual beliefs. A strong culture has, according to Collins, a fervently held ideology and indoctrination of that ideology.3 Surely a company should not have a more fervently held ideology than a local body of believers. Surely a company should not be more passionate about indoctrination than a local church. While not everything that is articulated is really believed, what is really believed is always articulated. If something is really valued, it is declared. Language and words help create the culture one lives in. When the Babylonians, for example, took Daniel and his contemporaries into captivity, they schooled the people of God in their language and literature (Dan. 1:4). The Babylonian leaders knew the power of words, both spoken and read, in attempting to form culture. The articulated beliefs and even how they are articulated help form the culture. How a church speaks of those outside the church, of the Scripture, and of the mission influences the culture greatly. The artifacts of church culture are the visible, tangible expressions of a church’s actual and articulated beliefs. Artifacts include common behaviors, informal rules for interaction, and other customs. Artifacts also include the formal behavioral management systems like policies, organizational structures, meeting formats, and required procedures. Church cultures even express their beliefs through artifacts that are nonhuman. Our buildings, technology, art, music, and other resources and tools constitute expression of our culture. Our programs and church calendars are expressions of who we are and are embedded in our cultures. Artifacts reveal a church’s worldview and simultaneously shape the church to continue believing it.

For art, she had thumbtacked hundreds of autumn leaves on one of the cracked walls.

In the extensive Milan exhibition of 1939, the Italian fascists turned Leonardo into an ideal model of a virile, war-mongering man who would conquer the world through rationalism and technology. At the end of the twentieth century engineers were more in demand than fighters, and consequently Leonardo, the solitary visionary, was now said to have foreseen the inventions of the modern age and became the hero of both aircraft and computer technology. 2

Of course, like the consciousness behind it, behind any art, a poem can be deep or shallow, visionary or glib, prescient or stuck in an already lagging trendiness. What’s pushing the grammar and syntax, the sounds, the images—is it the constriction of literalism, fundamentalism, professionalism—a stunted language? Or is it the great muscle of metaphor, drawing strength from resemblance in difference? The great muscle of the unconstricted throat?

【V信83113305】：The French Higher Institute of Cinematographic Studies (La Fémis) is one of the most prestigious film schools in the world, renowned for its rigorous training and influential alumni. Established in 1986, it succeeded the historic IDHEC, continuing a legacy of excellence in film education. Located in Paris, La Fémis offers specialized programs in directing, screenwriting, cinematography, editing, and production, fostering a hands-on, collaborative approach. Admission is highly competitive, with an emphasis on artistic vision and technical mastery. The institute’s graduates include acclaimed filmmakers like François Ozon and Claire Denis, who have shaped global cinema. With state-of-the-art facilities and strong industry ties, La Fémis remains a cornerstone of cinematic innovation, nurturing the next generation of visionary storytellers.，哪里买高等电影研究学院毕业证|ESEC成绩单, Ecole Supérieure d'Etudes Cinématographiques文凭制作流程确保学历真实性, 专业办理高等电影研究学院成绩单高质学位证书服务, 定做高等电影研究学院毕业证-ESEC毕业证书-毕业证, 出售ESEC证书-哪里能购买ESEC毕业证, 挂科办理Ecole Supérieure d'Etudes Cinématographiques高等电影研究学院毕业证本科学位证书, 高等电影研究学院毕业证成绩单在哪里能办理

Inspirational Speech by Sami Abouzid We shape our future with every choice we make today. Every action, every intention we set now defines the life we live tomorrow. If you choose to be a reaction to people—constantly moved by their opinions, judgments, and expectations—you’ll remain stuck, unchanged, repeating the same cycle. But if you choose to be a moment maker, a game changer, a visionary who sees opportunity in every challenge and growth in every failure, then your future becomes something powerful, bright, and extraordinary. I started 25 years ago with nothing but a dream and a burning passion. I failed. I fell. I cried. But I never gave up. I learned. I built. I evolved. Today, I stand in full control of my production process, of my art, my sound, and my vision. And I feel like the happiest person alive—not because it was easy, but because it was worth it. Be the architect of your destiny. Don’t just exist—create, build, transform. The future belongs to the bold. — Sami Abouzid

V信83113305：The San Diego Design Institute (SDDI) is a renowned hub for innovation and creativity, located in the vibrant city of San Diego, California. Specializing in interdisciplinary design education, SDDI fosters collaboration between architecture, industrial design, and digital media. Its cutting-edge programs emphasize sustainability, technology integration, and human-centered solutions, preparing students to tackle global challenges. The institute’s state-of-the-art facilities and proximity to tech startups and cultural landmarks provide unparalleled opportunities for hands-on learning. SDDI’s faculty comprises industry leaders and academics who mentor students in pushing boundaries across design disciplines. With a strong focus on real-world applications, the institute partners with local and international organizations to drive impactful projects. SDDI stands as a beacon for aspiring designers seeking to shape the future through visionary thinking and practical expertise.，申请学校!Design Institute of San Diego成绩单圣地亚哥设计研究所成绩单Design Institute of San Diego改成绩, 仿制圣地亚哥设计研究所毕业证-DIOSD毕业证书-快速办理, 学历证书!Design Institute of San Diego学历证书圣地亚哥设计研究所学历证书Design Institute of San Diego假文凭, 高仿圣地亚哥设计研究所文凭, 仿制圣地亚哥设计研究所毕业证-DIOSD毕业证书-快速办理, 专业办理DIOSD圣地亚哥设计研究所成绩单高质学位证书服务, 办理圣地亚哥设计研究所毕业证-DIOSD毕业证书-毕业证, DIOSD毕业证学历认证, DIOSD圣地亚哥设计研究所颁发典礼学术荣誉颁奖感受博士生的光荣时刻

Visionaries know they can't scale intimidating dreamscapes in fear's strait-jacket. If they sail off the world's edge, it is in a freeman's glory, leaving a pioneering legacy unfettered by Luciferian coin. Those with ears turned by doubt remain the faceless crowd. It's truly remarkable how these labours of love, crafted by architects of the imagination and kissed as billets-doux into the world, continue to manifest and influence in ways they could never foresee.

Leadership is often described as the art of “inspiring,” “motivating,” or “empowering” others. Leaders are labelled “visionaries,” “catalysts,” and “change agents.” Although these words carry a positive connotation, the fundamental purpose remains the same—to influence the actions and mindset of others. “When we try to influence someone, we attempt to affect or change their behaviour, thoughts, or development. Thus, one could argue that leadership is about controlling people but without apparent exertion of force or direct exercise of command.

The first domain is aesthetic. The weird describes a peculiar domain of feelings and images associated with stories, spaces, atmospheres, and moods that relate to the uncanny, the fantastic, the perverse, and the macabre side of the supernatural. The weird here is essentially a genre—not just of cultural production, but of affect and possibility, of the visionary imagination and the experimental body. Books can be weird, but so can subcultural happenings. The second domain marks the weird as a space of deviancy, social or otherwise. Weird things are anomalous—they deviate from the norms of informed expectation and challenge established explanations, sometimes quite radically. In the human world, you are being weird or a weirdo when you refuse or transgress dominant behavioral and conceptual codes. Despite its numinous, supernatural ambience, the weird also hunkers down in the margins of the actual, as a centrifugal turn away from naturalistic or probabilistic or historical norms to which it remains, nonetheless, intimately tied. The third and most substantial sense of the weird is ontological.4 In this view, weirdness is a mode of reality, of the way things are or the way they appear to be (which may be just two sides of the same strange coin). Weirdness here is not simply an artifact of our bent minds but a feature of the art and manner of existence itself—an existence I believe we can still talk about directly, though perhaps always with a forked tongue. More than a genre, more than a psychological mode, the weird inheres in the loopy, twisty, tricksy way whereby things come to be.

V信83113305：The New School of Architecture and Design in the United States represents a cutting-edge hub for innovation in the built environment. Emphasizing sustainability, technology, and interdisciplinary collaboration, the institution fosters creative solutions to global challenges. Its curriculum integrates advanced digital tools like parametric design and AI-driven modeling, preparing students for the future of architecture. The school’s faculty comprises leading practitioners and theorists, bridging academia and industry. With state-of-the-art studios and fabrication labs, students engage in hands-on projects, from urban revitalization to resilient infrastructure. A strong focus on eco-conscious design aligns with global climate goals, encouraging carbon-neutral practices. The school also prioritizes diversity, fostering inclusive spaces that reflect societal needs. By merging tradition with avant-garde experimentation, it cultivates visionary designers poised to redefine the architectural landscape.，仿制新建筑与设计学院毕业证-NOAAD毕业证书-快速办理, 购买新建筑与设计学院毕业证, 挂科办理新建筑与设计学院毕业证本科学位证书, 办新建筑与设计学院毕业证-university, NewSchool of Architecture and Design新建筑与设计学院毕业证制作代办流程, 制作文凭新建筑与设计学院毕业证-NOAAD毕业证书-毕业证, NOAAD毕业证成绩单专业服务, 留学生买毕业证NOAAD毕业证文凭成绩单办理

Fundamentally Peake's imagination was, without question, a romantic one, but, perhaps paradoxically, it is his humanity, his less idiosyncratic gifts (including the gift of farce), that distinguish him from other great visionary novelists such as Wyndham Lewis, Yevgeny Zamyatin or John Cooper Powys. In the Titus Groan books especially, with their ornate language, long soliloquies, bursts of nonsense verse, vivid descriptions, weird anecdotes, comic extravagances, we continue to interested in the characters and their stories. Peake's control of his subject matter, his skill at handling such a large cast, is demonstrated on every page of Titus Groan and Gormenghast , which are essentially a unity. The plot marches, with all the remorseless inevitability of a novel by Victor Hugo or Joseph Conrad, towards an unpredictable resolution. These abilities and his genuine love of people, his concern for others, his relish for life, make Peake, in my opinion, the greatest imaginative writer of his age. Neither J.R.R. Tolkien nor T.H. White, for instance, has Peake's monumental complexity or originality, his moral and formal integrity. Perhaps this is why Peake was so often praised by writers most identified with naturalistic novels of character, such as Elizabeth Bowen or Angus Wilson, who also appreciated the moral qualities of Peake's novels.

【V信83113305】：Located in the vibrant city of Calgary, the Alberta University of the Arts (AUArts) is a premier institution dedicated to nurturing creativity and innovation in the arts. Established in 1926, AUArts offers a dynamic learning environment where students explore disciplines such as fine arts, design, and media arts. The university emphasizes hands-on experience, critical thinking, and interdisciplinary collaboration, preparing graduates for successful careers in the creative industries. With state-of-the-art facilities, including studios, galleries, and digital labs, AUArts provides students with the tools to push artistic boundaries. Its small class sizes foster close mentorship from renowned faculty, while partnerships with local and international organizations offer real-world opportunities. AUArts is a hub for artistic excellence, inspiring the next generation of visionary artists and designers.，AUArts留学本科毕业证, 原版定制阿尔伯塔艺术大学毕业证-AUArts毕业证书-一比一制作, 挂科办理Alberta University of the Arts阿尔伯塔艺术大学毕业证文凭, 办理加拿大Alberta University of the Arts阿尔伯塔艺术大学毕业证Alberta University of the Arts文凭版本, 网上制作阿尔伯塔艺术大学毕业证-AUArts毕业证书-留信学历认证, 阿尔伯塔艺术大学毕业证成绩单在哪里能办理, AUArts文凭毕业证丢失怎么购买, AUArts学位证毕业证, 修改阿尔伯塔艺术大学成绩单电子版gpa实现您的学业目标

【V信83113305】：The New York Academy of Art, located in the heart of Manhattan, is a prestigious institution dedicated to the advancement of figurative art. Founded in 1982 by artists, scholars, and patrons, the academy emphasizes traditional techniques while fostering contemporary creativity. Its rigorous curriculum includes intensive training in drawing, painting, and sculpture, rooted in classical methods. Students benefit from small class sizes, personalized mentorship, and access to renowned faculty and visiting artists. The academy’s exhibitions and public programs bridge the gap between art and community, showcasing emerging talent alongside established masters. With a commitment to artistic excellence, the New York Academy of Art cultivates the next generation of skilled and visionary artists, ensuring the enduring relevance of figurative art in a rapidly evolving world.，原版定制纽约美术学院毕业证-NYAOA毕业证书-一比一制作, 纽约美术学院-多少钱, NYAOA假学历, NYAOA留学本科毕业证, NYAOA留学成绩单毕业证, 高质纽约美术学院成绩单办理安全可靠的文凭服务, 极速办New York Academy of Art纽约美术学院毕业证New York Academy of Art文凭学历制作, 办理美国大学毕业证书

【V信83113305】：The New School of Architecture and Design in the United States represents a cutting-edge hub for innovative education and creative exploration. Emphasizing sustainability, technology, and interdisciplinary collaboration, the institution prepares students to tackle contemporary urban and environmental challenges. Its curriculum blends theoretical foundations with hands-on experience, fostering skills in digital fabrication, parametric design, and eco-conscious construction. State-of-the-art facilities, including fabrication labs and immersive VR studios, enable students to experiment with advanced materials and virtual modeling. The school also prioritizes global perspectives, partnering with firms and universities worldwide to address issues like climate resilience and equitable urban development. By merging artistry with technical precision, the New School cultivates visionary designers and architects who redefine the built environment. Its graduates emerge as leaders, pushing boundaries in smart cities, adaptive reuse, and socially responsible design—shaping a more sustainable and inclusive future.，极速办新建筑与设计学院毕业证NOAAD文凭学历制作, 专业办理NewSchool of Architecture and Design新建筑与设计学院成绩单高质学位证书服务, NOAAD新建筑与设计学院电子版毕业证, 办美国NOAAD新建筑与设计学院文凭学历证书, 挂科办理新建筑与设计学院学历学位证, 新建筑与设计学院电子版毕业证与美国NOAAD学位证书纸质版价格, 定制NOAAD毕业证, 新建筑与设计学院成绩单复刻

【V信83113305】：Kyoto Art and Design College (KADC) is a prestigious institution in Japan, renowned for its innovative approach to creative education. Located in the historic city of Kyoto, the school blends traditional Japanese aesthetics with contemporary design principles, offering programs in graphic design, fashion, interior design, and fine arts. With a focus on hands-on learning, KADC provides state-of-the-art facilities and collaborates with industry professionals to prepare students for global careers. The college’s unique curriculum emphasizes cultural heritage while encouraging experimentation, attracting both domestic and international students. Kyoto’s rich artistic environment serves as an inspiring backdrop, fostering creativity and craftsmanship. KADC graduates are celebrated for their technical skills and visionary thinking, making significant contributions to the global art and design community.，如何获取京都艺术设计专门学校-京都芸術デザイン専門学校-毕业证本科学位证书, 出售京都艺术设计专门学校研究生学历文凭, 京都艺术设计专门学校文凭复刻, 办理京都芸術デザイン専門学校学历与学位证书投资未来的途径, 想要真实感受京都芸術デザイン専門学校京都艺术设计专门学校版毕业证图片的品质点击查看详解, 办理京都艺术设计专门学校学历认证回国人员证明, 办京都艺术设计专门学校毕业证京都芸術デザイン専門学校 Diploma

【V信83113305】：The School of the Art Institute of Chicago (SAIC) is one of the most prestigious art and design schools in the United States, renowned for its innovative approach to arts education. Founded in 1866, SAIC offers a rigorous curriculum that blends studio practice, critical theory, and interdisciplinary exploration. Located in the heart of Chicago, the school provides students with access to world-class museums like the Art Institute of Chicago, fostering a dynamic environment for creative growth. SAIC’s faculty includes leading artists, designers, and scholars who mentor students across diverse disciplines, from painting and sculpture to new media and performance. Emphasizing experimentation and social engagement, SAIC cultivates visionary artists who challenge conventions and shape contemporary culture. Its alumni, such as Georgia O’Keeffe and Jeff Koons, reflect the school’s enduring impact on the global art scene.，出售证书-哪里能购买毕业证, 美国学历购买, 办理School of the Art Institute of Chicago学历与学位证书投资未来的途径, 留学生买文凭SOTAIOC毕业证-芝加哥艺术学院, 定做芝加哥艺术学院毕业证-SOTAIOC毕业证书-毕业证, 原版定制芝加哥艺术学院毕业证-SOTAIOC毕业证书-一比一制作, 美国文凭办理, 留学生买毕业证School of the Art Institute of Chicago毕业证文凭成绩单办理

【V信83113305】：Founded in 1900, Joshibi University of Art and Design is Japan's pioneering institution dedicated to women's art education. Located in Tokyo and Kanagawa, it fosters creativity through programs in fine arts, design, and media. The university emphasizes individuality and innovation, offering specialized courses like Japanese painting, textile design, and digital arts. Its vibrant campus hosts exhibitions, workshops, and collaborations with industry leaders, empowering students to excel in global art scenes. With a legacy of alumnae shaping Japan's cultural landscape, Joshibi remains a beacon for female artists, blending tradition with contemporary expression. The university’s mission—to nurture visionary women through art—continues to inspire generations, bridging creativity and societal impact.，Offer(女子美術大学成绩单)女子美术大学如何办理?, 女子美術大学女子美术大学挂科了怎么办？, 挂科办理女子美术大学学历学位证, 高质女子美術大学女子美术大学成绩单办理安全可靠的文凭服务, 女子美術大学毕业证成绩单专业服务学历认证, 想要真实感受女子美术大学版毕业证图片的品质点击查看详解, 日本女子美術大学毕业证仪式感|购买女子美術大学女子美术大学学位证, 女子美術大学女子美术大学颁发典礼学术荣誉颁奖感受博士生的光荣时刻, 极速办女子美术大学毕业证女子美術大学文凭学历制作

【V信83113305】：Barnard College, a prestigious women's liberal arts college in New York City, is affiliated with Columbia University while maintaining its independence. Founded in 1889, it was named after educator and Columbia president Frederick Barnard. The college empowers women through rigorous academics, fostering leadership and intellectual growth. Its urban location offers unparalleled access to cultural and professional opportunities in Manhattan. Barnard’s curriculum emphasizes interdisciplinary learning, with strengths in STEM, humanities, and social sciences. Students benefit from small class sizes, close faculty mentorship, and cross-registration at Columbia. The campus, nestled in Morningside Heights, blends historic charm with modern facilities. Known for its vibrant community, Barnard champions diversity, activism, and women’s advancement. Notable alumnae include anthropologist Margaret Mead and writer Zora Neale Hurston. Barnard continues to shape bold, visionary leaders in a dynamic global context.，留学生买毕业证毕业证文凭成绩单办理, 办巴纳德学院毕业证认证学历认证使馆认证, 留学生买毕业证Barnard College毕业证文凭成绩单办理, 留学生买毕业证BC毕业证文凭成绩单办理, 专业办理Barnard College巴纳德学院成绩单高质学位证书服务, Offer(BC成绩单)BC巴纳德学院如何办理?, 一比一原版巴纳德学院毕业证购买, 想要真实感受Barnard College巴纳德学院版毕业证图片的品质点击查看详解, 购买巴纳德学院毕业证办理留学文凭学历认证

【V信83113305】：The Institute of Advanced Media Arts and Sciences (IAMAS) in Japan is a pioneering institution dedicated to the fusion of technology, art, and design. Located in Gifu Prefecture, it offers innovative programs that explore interactive media, digital fabrication, and creative expression through cutting-edge research. Founded in 2001, IAMAS emphasizes interdisciplinary collaboration, blending science and humanities to address contemporary societal challenges. Its small-scale, project-based learning environment fosters experimentation, attracting students and researchers worldwide. Notable for its open-source ethos and public engagement, the university hosts exhibitions and workshops, bridging academia and industry. IAMAS stands as a unique hub where art meets technology, cultivating visionary thinkers who redefine the boundaries of creative practice in the digital age.，修改情报科学艺术大学院大学成绩单电子版gpa实现您的学业目标, 办日本情報科学芸術大学院大学情报科学艺术大学院大学文凭学历证书, 情报科学艺术大学院大学留学本科毕业证, 办理情報科学芸術大学院大学情报科学艺术大学院大学成绩单高质量保密的个性化服务, 一流情报科学艺术大学院大学学历精仿高质, 情報科学芸術大学院大学情报科学艺术大学院大学学位证书快速办理, 挂科办理情報科学芸術大学院大学情报科学艺术大学院大学学历学位证, 情报科学艺术大学院大学文凭复刻

【V信83113305】：The ArtCenter College of Design, located in Pasadena, California, is a globally renowned institution dedicated to nurturing creative talent in art and design. Founded in 1930, it has consistently ranked among the top design schools worldwide, offering programs in industrial design, graphic design, fine arts, film, and more. Known for its rigorous curriculum and industry-focused approach, ArtCenter emphasizes hands-on learning, collaboration, and innovation. Its alumni include influential designers, artists, and filmmakers who have shaped global trends. The college’s iconic Hillside Campus, designed by Craig Ellwood, reflects its commitment to modernist aesthetics. With strong ties to leading companies, ArtCenter bridges education and professional practice, preparing students to excel in dynamic creative fields. Its legacy continues to inspire the next generation of visionaries.，挂科办理Art Center College of Design艺术中心设计学院学历学位证, 艺术中心设计学院留学本科毕业证, 美国毕业证办理, 一流艺术中心设计学院学历精仿高质, 艺术中心设计学院毕业证制作代办流程, 原装正版艺术中心设计学院毕业证真实水印成绩单制作, 艺术中心设计学院毕业证认证, 毕业证文凭-艺术中心设计学院毕业证, 原版定制艺术中心设计学院毕业证-ACCOD毕业证书-一比一制作

【V信83113305】：The San Diego Design Institute (SDDI) is a renowned hub for innovation and creativity, located in the vibrant city of San Diego, California. Specializing in interdisciplinary design education, SDDI fosters collaboration across fields such as industrial design, architecture, and digital media. Its cutting-edge programs emphasize sustainability, technology integration, and human-centered solutions, preparing students to tackle global challenges. The institute’s state-of-the-art facilities and proximity to tech startups and design firms provide unparalleled opportunities for hands-on learning and industry partnerships. With a faculty of accomplished professionals and a curriculum blending theory and practice, SDDI cultivates the next generation of visionary designers. Its commitment to artistic excellence and forward-thinking methodologies makes it a standout institution in the design world.，DIOSD学位证毕业证, 仿制圣地亚哥设计研究所毕业证-DIOSD毕业证书-快速办理, 办圣地亚哥设计研究所毕业证学位证书文凭认证-可查, DIOSDdiplomaDIOSD圣地亚哥设计研究所挂科处理解决方案, 圣地亚哥设计研究所电子版毕业证与美国DIOSD学位证书纸质版价格, DIOSD毕业证文凭-圣地亚哥设计研究所毕业证, 学历证书!学历证书圣地亚哥设计研究所学历证书假文凭

【V信83113305】：The San Francisco Art Institute (SFAI), founded in 1871, stands as a historic pillar of artistic innovation in the United States. Nestled in the vibrant cultural hub of San Francisco, SFAI has nurtured generations of visionary artists, including luminaries like Ansel Adams and Diego Rivera. Known for its avant-garde approach, the institute emphasizes experimentation, interdisciplinary collaboration, and social engagement. Its iconic campus, featuring Diego Rivera’s renowned mural *The Making of a Fresco*, reflects a deep commitment to public art and activism. Despite financial challenges leading to its closure in 2022, SFAI’s legacy endures through its alumni and ongoing cultural influence. The institute remains a symbol of creativity, pushing boundaries and inspiring artists worldwide to redefine the role of art in society.，旧金山艺术学院留学成绩单毕业证, 美国SFAI学位证书纸质版价格, 旧金山艺术学院-San Francisco Art Institute大学毕业证成绩单, 旧金山艺术学院毕业证定制, 正版-美国SFAI毕业证文凭学历证书, 旧金山艺术学院成绩单购买, San Francisco Art Institute旧金山艺术学院学位证书快速办理

【V信83113305】：Massachusetts College of Art and Design (MassArt), founded in 1873, is the first and only independent public college of art and design in the United States. Located in Boston, it offers a dynamic environment for creative education, blending traditional techniques with innovative approaches. MassArt provides undergraduate and graduate programs across disciplines like fine arts, design, architecture, and media arts, fostering interdisciplinary collaboration. Known for its hands-on curriculum and state-of-the-art facilities, the college emphasizes experiential learning, preparing students for careers in the ever-evolving creative industries. Its diverse community encourages artistic experimentation and critical thinking, while partnerships with Boston’s cultural institutions offer real-world exposure. MassArt’s legacy of nurturing visionary artists and designers continues to shape the global creative landscape.，美国毕业证办理, 办理美国MCOAAD马萨诸塞艺术与设计学院毕业证MCOAAD文凭版本, 挂科办理马萨诸塞艺术与设计学院学历学位证, MCOAAD文凭制作, 学历证书!学历证书马萨诸塞艺术与设计学院学历证书假文凭, 办马萨诸塞艺术与设计学院毕业证认证学历认证使馆认证, 办理美国毕业证