Visual And Performing Arts Quotes

To write is to forget. Literature is the most agreeable way of ignoring life. Music soothes, the visual arts exhilarates, the performing arts (such as acting and dance) entertain. Literature, however, retreats from life by turning in into slumber. The other arts make no such retreat— some because they use visible and hence vital formulas, others because they live from human life itself. This isn't the case with literature. Literature simulates life. A novel is a story of what never was, a play is a novel without narration. A poem is the expression of ideas or feelings a language no one uses, because no one talks in verse.

Art doesn’t give rise to anything in us that isn’t already there. It simply stirs our curious consciousness and sparks a fire that illuminates who we have always wanted to be.

I became an artist because I wanted to be an active participant in the conversation about art.

To write is to forget. Literature is the most agreeable way of ignoring life. Music soothes, the visual arts exhilarate, and the performing arts (such as acting and dance) entertain. Literature, however, retreats from life by turning it into a slumber. The other arts make no such retreat – some because they use visible and hence vital formulas, others because they live from human life itself.

To write is to forget. Literature is the pleasantest way of ignoring life. Music lulls us, the visual arts enliven us, the performing arts (such as dance and drama) entertain us.

In the circle where I was raised, I knew of no one knowledgeable in the visual arts, no one who regularly attended musical performances, and only two adults other than my teachers who spoke without embarrassment of poetry and literature — both of these being women. As far as I can recall, I never heard a man refer to a good or a great book. I knew no one who had mastered, or even studied, another language from choice. And our articulate, conscious life proceeded without acknowledgement of the preceding civilisations which had produced it.

An idea has formed in my mind. At university, I performed pieces where I'd sit on various materials that had long life spans, like plastic, trees, stone, and I gradually glued my skin to them, or else connected myself to the material with clay or plaster and painted the joins to look like the material---the bark of a tree, marble, cement. I wanted to look like I was a part of whatever material I was using and it was a part of me. I think that those works came from a kind of naive and youthful desire to be seen for what I was. For my body to be seen for what it is: this un-decaying, eternal thing---familiarly human, but also not.

AFTER MASTERING negative visualization, a novice Stoic should move on to become proficient in applying the trichotomy of control, described in chapter 5. According to the Stoics, we should perform a kind of triage in which we distinguish between things we have no control over, things we have complete control over, and things we have some but not complete control over; and having made this distinction, we should focus our attention on the last two categories. In particular, we waste our time and cause ourselves needless anxiety if we concern ourselves with things over which we have no control.

My Definite Chief Aim I, Bruce Lee, will be the first highest paid Oriental super star in the United States. In return, I will give the most exciting performances and render the best of quality in the capacity of an actor. Starting 1970 I will achieve world fame and from then onward till the end of 1980 I will have in my possession $10,000,000. I will live the way I please and achieve inner harmony and happiness. My aim is to establish a first Gung Fu Institute that will later spread all over the U.S. (I have set a time limit of 10 to 15 years to complete the whole project). My reason in doing this is not the sole objective of making money. The motives are many and among them are: I like to let the world know about the greatness of this Chinese art; I enjoy teaching and helping people; I like to have a well-to-do home for my family; I like to originate something; and the last but yet one of the most important is because gung fu is part of myself. … Right now, I can project my thoughts into the future. I can see ahead of me. I dream (remember that practical dreamers never quit). I may now own nothing but a little place down in a basement, but once my imagination has got up a full head of steam, I can see painted on a canvas of my mind a picture of a fine, big five or six story Gung Fu Institute with branches all over the States. I am not easily discouraged, readily visualize myself as overcoming obstacles, winning out over setbacks, achieving “impossible” objectives.

There is some feeling nowadays that reading is not as necessary as it once was. Radio and especially television have taken over many of the functions once served by print, just as photography has taken over functions once served by painting and other graphic arts. Admittedly, television serves some of these functions extremely well; the visual communication of news events, for example, has enormous impact. The ability of radio to give us information while we are engaged in doing other things—for instance, driving a car—is remarkable, and a great saving of time. But it may be seriously questioned whether the advent of modern communications media has much enhanced our understanding of the world in which we live. Perhaps we know more about the world than we used to, and insofar as knowledge is prerequisite to understanding, that is all to the good. But knowledge is not as much a prerequisite to understanding as is commonly supposed. We do not have to know everything about something in order to understand it; too many facts are often as much of an obstacle to understanding as too few. There is a sense in which we moderns are inundated with facts to the detriment of understanding. One of the reasons for this situation is that the very media we have mentioned are so designed as to make thinking seem unnecessary (though this is only an appearance). The packaging of intellectual positions and views is one of the most active enterprises of some of the best minds of our day. The viewer of television, the listener to radio, the reader of magazines, is presented with a whole complex of elements—all the way from ingenious rhetoric to carefully selected data and statistics—to make it easy for him to “make up his own mind” with the minimum of difficulty and effort. But the packaging is often done so effectively that the viewer, listener, or reader does not make up his own mind at all. Instead, he inserts a packaged opinion into his mind, somewhat like inserting a cassette into a cassette player. He then pushes a button and “plays back” the opinion whenever it seems appropriate to do so. He has performed acceptably without having had to think.

The final word was her daughter’s, in a frank and touching memoir, Knock Wood. Yes, there were disagreements; there were plenty of generation-gap misunderstandings. At the bottom of it was a girl who desperately needed the approval of a father who felt stripped when he had to speak as himself, with no dummy on his lap to make light of things. The book is a love story on both sides: in the end Candice Bergen has placed Charlie McCarthy in an open, healthy spotlight, as a vital piece of her personal history. Bergen did little in television. He was a radio man, even though his art was primarily visual. With Charlie and Mortimer, he emceed the 1956 CBS audience show Do You Trust Your Wife?, and he made numerous guest appearances on TV variety shows of the ’50s. He grew old and gray. Charlie, of course, was eternally young. In September 1978 Bergen announced his retirement: he would do a few more shows, then give his dummy to the Smithsonian. Charlie had been his companion for 56 years. A week later he appeared with Andy Williams at Caesar’s Palace in Las Vegas. He died in his sleep after this performance, Oct. 1, 1978.

THE ARTS The arts are about the qualities of human experiences. Through music, dance, visual arts, drama, and the rest, we give form to our feelings and thoughts about ourselves, and how we experience the world around us. Learning in and about the arts is essential to intellectual development. The arts illustrate the diversity of intelligence and provide practical ways of promoting it. The arts are among the most vivid expressions of human culture. To understand the experience of other cultures, we need to engage with their music, visual art, dance, and verbal and performing arts. Music and images, poems and plays are manifestations of some of our deepest talents and passions. Engaging with the arts of others is the most vibrant way of seeing and feeling the world as they do.

In war, we see the ultimate expression of ungodly utilitarianism. War is supremely practical. It is the willingness to sacrifice literally everything to achieve a goal…Worship, however, is the opposite of war. It is an act of creation rather than destruction, of order rather than chaos, and beauty rather than ugliness...Art is more than a luxury, and beauty is more than an extravagance. When we create art and music, or when we gather to worship with expressions of splendor and adoration...we are performing an act of defiance. We are creating an oasis of beauty amid the dehumanizing ugliness of our world. We are declaring our refusal to succumb to the brutal practicality of the world, which crushes people in its pursuit of power, wealth, or fame.

By the end of the Eisenhower presidency, television had become inseparable from national politics and presidential campaigns. The average American household had owned a television set for less than ten years when, in 1960, Massachusetts senator John F. Kennedy and Vice President Nixon faced off in the first-ever televised presidential debate. While the polio-afflicted FDR could not walk and Eisenhower was a less-than-charismatic speaker in public, the new visual medium granted no allowances. Starting with the debate, presidential elections were now a form of performance art in which every grimace, eye roll, and hand gesture counted toward the outcome—democracy subject to the rolling cameras of capitalism’s next big thing. •

...an astonishing blend of cultural history, multi-arts criticism, and memoir, moving with dazzling fluency across the hybrid worlds of visual and performance art, dance and music-theater, and experimental just-about-everything... Coe celebrates the mad pioneers of America’s most surreal cultural era in a gorgeous, insightful prose that matches their marvels.”        - Todd London, This Is Not My Memoir (with Andre Gregory, FSG) “...Compiled from published and unpublished writings, this volume reflects Coe’s extraordinary ability to craft smart journalistic profiles of epochal theater and dance artists with the Olympian sweep of an academic researcher and more than a streak of gonzo memoirist.”       - Don Shewey, Critic and Writer “...a truly personal opus and one that captivates as well as inspires... brimming with imagery and rich pathos that never seem over-indulgent or forced... Coe's book is certain to delight anyone who picks it up."        - Robert Buccellato, the US Review of Books "...a bit of Norman Mailer with a splash of Joan Didion, but all in all, the book has an eclectic style all its own. It’s postmodernism with a smirk and a twinkle. If you were there, you’ll be glad to go back again. If you weren’t there, you’re going to feel as if you were."        - Des McAnuff, Playwright, Songwriter, Director

Exhibition, in all its forms, whether it’s in visual arts or science or humanities, is incredibly important to the cycle of the learning process. It’s one thing to be working in your sketchbook, another to do research from a prompt that your teacher gives you, another to struggle in the studio, and yet another to go through a critique. But the exhibition is really the final, and an extremely critical, bookend piece that students have to experience—where your work becomes public. It would almost be like rehearsing and never performing. To go through the process is really valuable and to be specific and transparent about what those skills are that go into creating an exhibition really matters. —Kathleen Marsh

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Hadn't Gary Gygax simply invented a game, and an esoteric one at that? It was hardly a footnote in the increasingly fast and complex information age that we live in. What was all the fuzz about? The reason for all the fuzz among those who understood his work was simple. Gary Gygax and his seminal game creation, Dungeons & Dragons, had influenced and transformed the world in extraordinary ways. Yet, much of his contribution would also go largely unrecognised by the general public. Although it is debatable whether D&D ever became a thoroughly mainstream activity, as a 1983 New York Times article had speculated, referring to it as the great game of the 1980's, D&D and its RPG derivatives are beloved by a relatively small but dedicated group of individuals affectionately known as 'geeks'. Although the term 'geek' is not exclusive to role-playing gamers, the activities of this particular audience have often been viewed as the most archetypal form of 'geekiness'. Labels aside, what is notable is that the activities of this RGP audience were highly correlated with interests in other activities such as early computers, digital technologies, visual effects, and the performing arts. In this way, these geeks, though relatively small in number, became in many instances the leaders and masters of this era. With the advent of the digital age, geeks worldwide found opportunity and recognition never previously available to their predecessors. Icons and innovators such as George R. R. Martin, Mike Myers, Richard Garriott, Vin Diesel, Tim Duncan, Anderson Cooper, David X. Cohen, John Carmak, Tim Harford, Moby, and the late Robin Williams, to name just a few, were all avid role-playing gamers in their younger years. The list of those who include D&D as a regular activity while growing up is both extensive and impressive.

As for the visual arts, artists learned their craft for centuries by lovingly studying and copying the masters. No more. Today’s would-be artist need only stage his own predictable politics to claim artist status, a view that has given us such performance pieces as the publicly performed loss of anal virginity at a London art school or a video-recorded use of a cement sex toy at the San Francisco Art Institute.

If you’d like to learn more about the power of visualization, check out Creative Visualization: Use the Power of Your Imagination to Create What You Want in Your Life by Shakti Gawain. We also recommend Healing Visualizations: Creating Health Through Imagery by Gerald Epstein, MD, and The Art of Mental Training - A Guide to Performance Excellence by DC Gonzalez.

Literature is the spirit of the Culture, the lifeblood. They’re one and the same. Words are everywhere. Storytelling is everywhere. Stories have been essential to human survival since prehistory: at their most base, they are how we communicate both threats and opportunities. They are how the subconscious sorts through problems as we rest; through the narratives that are dreams, we can go on and address life’s travails. Literature refines these functions, elevates them to the spiritual realm. That’s why words are so important, why literature is the highest art. Visual artworks, if not directly inspired by literature or telling their own stories, are still described in words. Dance is often performed as part of a story, and if not, is still described in words. The only thing that could conceivably rival it, as something unrelated, would be classical music, but even the masters in that field were often inspired by works in the Canon, and titled their compositions in words. Words give all things meaning. Stories are fundamental to the human experience.

What can ‘art’ mean in a culture where the primary organ of perception is not the eye or the ears, but the heart? It requires a shift from the visible to the sensible, in which attention is directed not outwardly toward the object, but inwardly, within the heart. This shift – from the eye as an organ of (potentially rational) verification to the heart as one of (necessarily perceptual) validation shifts the aesthetic from one located between a disinterested subject and object toward an aesthetic located between an interested subject and an object made malleable through the performance of perception. The Quran scarcely differentiates between material and immaterial perception: external receptors, the eyes and ears, function indivisibly with the heart, the internal sensory organ. This enables a heart-perception of the unseen that unbalances and confuses the distinction of the senses. Whereas a visually mimetic model of representation requires light to expose material reality, in the Quran light can simultaneously show and blind, sometimes at the same time.

Craqit | The ecosystem to learn, create and practise arts Craqit is the first of its kind platform in India empowering creatives in performing and visual arts space to take that next leap in their journey to success.

Indeed, fascist regimes tried to redraw so radically the boundaries between private and public that the private sphere almost disappeared. Robert Ley, head of the Nazi Labor Office, said that in the Nazi state the only private individual was someone asleep. For some observers, this effort to have the public sphere swallow up the private sphere entirely is indeed the very essence of fascism. It is certainly a fundamental point on which fascist regimes differed most profoundly from authoritarian conservatism, and even more profoundly from classical liberalism. There was no room in this vision of obligatory national unity for either free-thinking persons or for independent, autonomous subcommunities. Churches, Freemasonry, class-based unions or syndicates, political parties— all were suspect as subtracting something from the national will.121 Here were grounds for infinite conflict with conservatives as well as the Left. In pursuit of their mission to unify the community within an all-consuming public sphere, fascist regimes dissolved unions and socialist parties. This radical amputation of what had been normal worker representation, encased as it was in a project of national fulfillment and managed economy, alienated public opinion less than pure military or police repression, as in traditional dictatorships. And indeed the fascists had some success in reconciling some workers to a world without unions or socialist parties, those for whom proletarian solidarity against capitalist bosses was willingly replaced by national identity against other peoples. Brooding about cultural degeneracy was so important a fascist issue that some authors have put it at the center. Every fascist regime sought to control the national culture from the top, to purify it of foreign influences, and make it help carry the message of national unity and revival. Decoding the cultural messages of fascist ceremonies, films, performances, and visual arts has today become the most active field of research on fascism. The “reading” of fascist stagecraft, however ingenious, should not mislead us into thinking that fascist regimes succeeded in establishing monolithic cultural homogeneity. Cultural life in fascist regimes remained a complex patchwork of official activities, spontaneous activities that the regimes tolerated, and even some illicit ones. Ninety percent of the films produced under the Nazi regime were light entertainment without overt propaganda content (not that it was innocent, of course). A few protected Jewish artists hung on remarkably late in Nazi Germany, and the openly homosexual actor and director Gustav Gründgens remained active to the end.

Visual and performing artists produce art that lives in the present world. The art of the writer exists in another dimension. Through strings of words and phrases writers inspire their readers to imagine, to conjure images, to suspend disbelief, to enter a world visible only in their minds. It is in that unseen world where the art of the writer lives.

The impulse to be looking constantly with central vision is part of a psychophysical syndrome which includes spinal fixation as another characteristic. Tunnel vision -- the use of the macula, or central portion of the retina, to the relative exclusion of the surrounding area -- is hard on/eyes and diminishes their visual potential; it accentuates selective fixation upon objects one after another, missing the whole view and seeing objects as separate from their larger context. It accompanies and fortifies a tunneling habit of mind, a tendency to, fasten onto particular issues or circumstances, to hold doggedly and sometimes with exaggerated emotionality to a point of view, and to be unable to contextualize or to find fresh responses.