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The scientific mind is atrophied, and suffers under inherited cerebral weakness, when it comes in contact with the eternal woman�... - MORE The scientific mind is atrophied, and suffers under inherited cerebral weakness, when it comes in contact with the eternal woman—Astarte, Isis, Demeter, Aphrodite, and the last and greatest deity of all, the Virgin.

Henry Brooks Adams

virginity | women | science

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The man who, from the beginning of his life, has been bathed at length in the soft atmosphere of a woman, in the smell of her hand... - MORE The man who, from the beginning of his life, has been bathed at length in the soft atmosphere of a woman, in the smell of her hands, of her bosom, of her knees, of her hair, of her supple and floating clothes, ... has contracted from this contact a tender skin and a distinct accent, a kind of androgyny without which the harshest and most masculine genius remains, as far as perfection in art is concerned, an incomplete being.

Charles Baudelaire

women | art | artists | androgyny

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Who among us has not, in moments of ambition, dreamt of the miracle of a form of poetic prose, musical but without rhythm and rhym... - MORE Who among us has not, in moments of ambition, dreamt of the miracle of a form of poetic prose, musical but without rhythm and rhyme, both supple and staccato enough to adapt itself to the lyrical movements of our souls, the undulating movements of our reveries, and the convulsive movements of our consciences? This obsessive ideal springs above all from frequent contact with enormous cities, from the junction of their innumerable connections.

Charles Baudelaire

poetry | poets

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Contact with men who wield power and authority still leaves an intangible sense of repulsion. It's very like being in close proxim... - MORE Contact with men who wield power and authority still leaves an intangible sense of repulsion. It's very like being in close proximity to faecal matter, the faecal embodiment of something unmentionable, and you wonder what it is made of and when it acquired its historically sacred character.

Jean Baudrillard

power

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A sociosphere of contact, control, persuasion and dissuasion, of exhibitions of inhibitions in massive or homeopathic doses...: th... - MORE A sociosphere of contact, control, persuasion and dissuasion, of exhibitions of inhibitions in massive or homeopathic doses...: this is obscenity. All structures turned inside out and exhibited, all operations rendered visible. In America this goes all the way from the bewildering network of aerial telephone and electric wires ... to the concrete multiplication of all the bodily functions in the home, the litany of ingredients on the tiniest can of food, the exhibition of income or IQ.

Jean Baudrillard

new age, the

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If psychoanalysis emerged just before World War I to deal with the repressions of Puritanism, the hedonistic age has its counterpa... - MORE If psychoanalysis emerged just before World War I to deal with the repressions of Puritanism, the hedonistic age has its counterpart in sensitivity training, encounter groups, "joy therapy," and similar techniques that have two characteristics essentially derived from a hedonistic mood: they are conducted almost exclusively in groups; and they try to "unblock" the individual by physical contact, by groping, touching, fondling, manipulating. Where the earlier intention of psychoanalysis was to enable the patient to achieve self-insight and thereby redirect his life—an aim inseparable from a moral context—the newer therapies are entirely instrumental and psychologistic; their aim is to "free" the person from inhibitions and restraints so that he or she can more easily express his impulses and feelings.

Daniel Bell

psychoanalysis | pop psychology

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The artistic performance of a stage actor is definitely presented to the public by the actor in person; that of the screen actor, ... - MORE The artistic performance of a stage actor is definitely presented to the public by the actor in person; that of the screen actor, however, is presented by a camera, with a twofold consequence. The camera that presents the performance of the film actor to the public need not respect the performance as an integral whole. Guided by the cameraman, the camera continually changes its position with respect to the performance. The sequence of positional views which the editor composes from the material supplied him constitutes the completed film. It comprises certain factors of movement which are in reality those of the camera, not to mention special camera angles, close-ups, etc.... Also, the film actor lacks the opportunity of the stage actor to adjust to the audience during his performance, since he does not present his performance to the audience in person. This permits the audience to take the position of a critic, without experiencing any personal contact with the actor. The audience's identification with the actor is really an identification with the camera.

Walter Benjamin

cinema | theater

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What then is the difference between film and theatre? Or should one not rather ask: what are the differences? Let us be content wi... - MORE What then is the difference between film and theatre? Or should one not rather ask: what are the differences? Let us be content with the reply that the screen has two dimensions and the stage three, that the screen presents photographs and the stage living actors. All the subtler differences stem from these. The camera can show us all sorts of things—from close-ups of insects to panoramas of prairies—which the stage cannot even suggest, and it can move from one to another with much more dexterity than any conceivable stage. The stage, on the other hand, can be revealed in the unsurpassable beauty of three-dimensional shapes, and the stage actor establishes between himself and his audience a contact real as electricity.

Eric Bentley

cinema | theater

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Human visual perception is a far more complex and selective process than that by which a film records. Nevertheless the camera len... - MORE Human visual perception is a far more complex and selective process than that by which a film records. Nevertheless the camera lens and the eye both register images—because of their sensitivity to light—at great speed and in the face of an immediate event. What the camera does, however, and what the eye in itself can never do is to fix the appearance of that event. It removes its appearance from the flow of appearances and it preserves it, not perhaps forever but for as long as the film exists. The essential character of this preservation is not dependent upon the image being static; unedited film rushes preserve in essentially the same way. The camera saves a set of appearances from the otherwise inevitable supercession of further appearances. It holds them unchanging. And before the invention of the camera nothing could do this, except, in the mind's eye, the faculty of memory.

John Berger

photography | painters and painting

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A dog will make eye contact. A cat will, too, but a cat's eyes don't even look entirely warm-blooded to me, whereas a dog's eyes l... - MORE A dog will make eye contact. A cat will, too, but a cat's eyes don't even look entirely warm-blooded to me, whereas a dog's eyes look human except less guarded. A dog will look at you as if to say, "What do you want me to do for you? I'll do anything for you." Whether a dog can in fact, do anything for you if you don't have sheep (I never have) is another matter. The dog is willing.

Roy Blount, Jr.

cats | dogs

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