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I've been strongly influenced, in technique as well as subject matter, by some of the early 20th-century book illustrators — Arthur Rackham and Edmund Dulac in particular, Burne-Jones and other Pre-Raphaelites, and the Arts-&-Crafts movement they engendered. I'm continually inspired by Rembrandt, Breughel (I've wondered whether his brilliant "Tower of Babel" had inspired Tolkien's description of Minas Tyrith), Hieronymous Bosch, Albrecht Durer, and Turner; it's not necessarily that they influence my work in any particular direction, more that their example raises my spirits, re-affirms my belief in the power of images to move and delight us, and shows me how much further I have to go, how much is possible. Having visited Venice and Florence for the first time, I am besotted with the Italian Renaissance artists — Botticelli, Bellini, da Vinci and others. Their work is calm, controlled, and yet each face and landscape contains such passion. In Botticelli's paintings, every pebble and every leaf is rendered with a religious devotion; there is reverence inherent in paying such close attention to every stone, turning painting itself into a form of worship, an act of prayer. ↗
I want the biggest kind of entertainment a man can get. People, places, art, nature, everything! I want to see the tallest mountains, and the bluest lakes, and the finest pictures and the handsomest churches, and the most celebrated men, and the most beautiful women." -Henry james 'the American ↗
#art
[He] believed both love and hate to be irrelevant. To him, they were "impediments of the human condition," and, in his words again, "imagine what could be accomplished if the human race would only shed its humanity. ↗
She stared into his eyes and announced, “A good-bye kiss.” It was at that Raid stopped dead. “What?” “Raiden, the gig is up,” she declared, and Raid closed his eyes. Jesus, how could the woman be so infuriating and so fucking cute all at once? He opened his eyes and asked, “The gig is up?” She leaned into him and hissed, “Yes.” Fuck, he wanted to kiss her. He also wanted to shake her. “Baby, it’s jig,” he corrected, and her head jerked, which made that mess of hair on her head jerk, which reminded him he wanted his hands in that hair. Then elsewhere. He needed to speed this shit up. “Sorry?” she asked, sounding confused, and he looked from her hair to her eyes and saw she was, in fact, confused. Yeah. Infuriating. And fucking cute. “The jig is up, not the gig,” he told her. Her eyes narrowed. “Seriously? You’re correcting my street lingo?” “Think that street lingo was the street lingo about eight decades ago, Hanna. So now it’s just lingo. ↗
A file on a hard disk does indeed contain information of the kind that objectively exists. The fact that the bits are discernible instead of being scrambled into mush - the way heat scrambles things - is what makes them bits. But if the bits can potentially mean something to someone, they can only do so if they are experienced. When that happens, a commonality of culture is enacted between the storer and the retriever of the bits. Experience is the only process that can de-alienate information. Information of the kind that purportedly wants to be free is nothing but a shadow of our own minds, and wants nothing on its own. It will not suffer if it doesn't get what it wants. But if you want to make the transition from the old religion, where you hope God will give you an afterlife, to the new religion, where you hope to become immortal by getting uploaded into a computer, then you have to believe information is real and alive. So for you, it will be important to redesign human institutions like art, the economy, and the law to reinforce the perception that information is alive. You demand that the rest of us live in your new conception of a state religion. You need us to deify information to reinforce your faith. ↗
Ich versuche mir vorzustellen, wie es wäre, wenn mir dies Erleben zum ersten Mal auf solche Art zuteil geworden wäre. Ich muß den Gedanken abbremsen, so was ist nicht vorstellbar. Eines ist klar: Wäre an dem Mädchen irgendwann in Friedenszeiten durch einen herumstreunenden Kerl die Notzucht verübt worden, wäre hinterher das übliche Friedensbrimborium von Anzeige, Protokoll, Vernehmung, ja von Verhaftung und Gegenüberstellung, Zeitungsbericht und Nachbarngetue gewesen – das Mädel hätte anders reagiert, hätte einen anderen Schock davongetragen. Hier aber handelt es sich um ein Kollektiv-Erlebnis, vorausgewußt, viele Male vorausbefürchtet – um etwas, das den Frauen links und rechts und nebenan zustieß, das gewissermaßen dazu gehörte. Diese kollektive Massenform der Vergewaltigung wird auch kollektiv überwunden werden. Jede hilft jeder, indem sie darüber spricht, sich Luft macht, der anderen Gelegenheit gibt sich Luft zu machen, das Erlittene auszuspeien. Was natürlich nicht ausschließt, das feinere Organismen als diese abgebrühte Berliner Göre daran zerbrechen oder doch auf Lebenszeit einen Knacks davontragen. ↗
If we are as free as we like to believe, then it makes sense that we are free to choose who we want to be. And then we set out into the world to acquire the knowledge, the wisdom, and the experience we need in order to become the painters, the dancers, the actors, the writers we have always dreamed of being. We need a reason for everything we do in life. Artists are guided by passion, by the need to create. And our emotions and dreams are amplified by our art. Whether a conscious decision or not, in order to be an artist, one has to create art. ↗
