Man, became man through work, who stepped out of the animal kingdom as transformer of the natural into the artificial, who became ...therefore the magician, man the creator of social reality, will always stay the great magician, will always be Prometheus bringing fire from heaven to earth, will always be Orpheus enthralling nature with his music. Not until humanity itself dies will art die.LESSATTRIBUTION DETAIL »
In written communication, the imagination converts codes into a version of reality, and the mind reasons its way to judgments, con...victions, and actions. With television, by contrast, movement, sound, and color rush experiences directly to the senses. The process moves from image to impression, to emotional impulse, and then to action. Sensation and emotional intensity dominate. The reflection and reasoning which verbal communication demand are bypassed. Another profound difference between television and writing is the way they collect and disseminate knowledge. Television absorbs the scenes within the range of its lenses, records the images, then diffuses them like a gas. It creates the illusion of reproducing life in its natural, multidimensional state. Lan guages, by contrast, convert life into artificial codes and organize them into artificial patterns.LESSATTRIBUTION DETAIL »
The major men That is different. They are characters beyond... Reality, composed thereof. They are The fictive man created out of men. They are men but artificial men.LESSATTRIBUTION DETAIL »
Fiction is not imagination. It is what anticipates imagination by giving it the form of reality. This is quite opposite to our own... natural tendency which is to anticipate reality by imagining it, or to flee from it by idealizing it. That is why we shall never inhabit true fiction; we are condemned to the imaginary and nostalgia for the future.LESSATTRIBUTION DETAIL »
To anyone who still feels that there must be an identity of logical form between language and reality, I can only plead that the c...onception of language as a mirror of reality is radically mistaken. We find out soon enough that the universe is not capricious: the child who learns that fire burns and knife-edges cut knows that there are inexorable limits set upon his desires. Language must conform to the discovered regularities and irregularities of experience. But in order to do so, it is enough that it should be apt for the expression of everything that is or might be the case. To be content with less would be to be satisfied to be inarticulate; to ask for more is to desire the impossible. No roads lead from grammar to metaphysics.LESSATTRIBUTION DETAIL »
It is just as wrong to judge paintings from the point of view of pictures as it is to judge pictures from the point of view of pai...nting. A painting has its own rule, its own justification within itself. A picture has its criterion outside itself, in the external reality it imitates. Several critics have recently made the remark that nonrepresentational art has this major defect, that being unrelated to external reality, it has no criterion by which it can be judged. The argument would be valid if the art of painting were the art of picturing. As it is, all judgments and appreciations of paintings founded upon their relation to an external model are irrelevant to painting. A painting is the embodiment of a form in a matter; the whole being of a picture is determined by the relationship that obtains between the image itself and some external reality.... As compared with a painting, whose ultimate end is to achieve a fitting object of contemplation, images are characterized by their ambition to represent all the objects they include, and to represent these objects with all the details that are compatible with their pictorial representation.LESSATTRIBUTION DETAIL »