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George Carlin

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Comedy is filled with surprise, so when I cross a line... I like to find out where the line might be and then cross it deliberately, and then make the audience happy about crossing the line with me.
--
The Onion A.V. Club, November 10, 1999

 
George Carlin

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Before he did all those lovely line drawings, Matisse would make really detailed charcoal drawings and tear them up. He wouldn't leave them about, he thought of them as working drawings. I understand what he was doing: discovering what's there. And then when you come to use line, if you know what you're looking at, it's much easier to make the line meaningful, to find a linear solution to what you want to depict.

 
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Piet Mondrian realizes the importance of line. The line has almost become a work of art in itself; one can not play with it when the representation of objects perceived was all-important. The white canvas is almost solemn. Each superfluous line, each wrongly placed line, any color placed without veneration or care, can spoil everything – that is, the spiritual.

 
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The cross is not random suffering, but necessary suffering. The cross is not suffering that stems from natural existence; it is the suffering that comes from being Christian. ... A Christianity that no longer took discipleship seriously remade the gospel into only the solace of cheap grace. Moreover, it drew no line between natural and Christian existence. Such a Christianity had to understand the cross as one's daily misfortune, as the predicament and anxiety of our daily life. Here it has been forgotten that the cross also means being rejected, that the cross includes the shame of suffering. Being shunned, despised, and deserted by people, as in the psalmists unending lament, is an essential feature of the suffering of the cross, which cannot be comprehended by a Christianity that is unable to differentiate between a citizen's ordinary existence and a Christian existence. The cross is suffering with Christ.

 
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Instead of thinking in terms of chords, I think of voice-leading; that is, melody line and bass line, and where the bass line goes. If you do that, you'll have the right chord. [These voices] will give you some alternatives, and you can play those different alternatives to hear which one suits your ear... Keep the bass line moving so you don't stay in one spot: if you have an interesting bass line and you roll it against the melody, the chords are going to come out right.

 
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What is line? It is life. A line must live at each point along its course in such a way that the artist’s presence makes itself felt above that of the model... With the writer, line takes precedence over form and content. It runs through the words he assembles. It strikes a continuous note unperceived by ear or eye. It is, in a way, the soul’s style, and if the line ceases to have a life of its own, if it only describes an arabesque, the soul is missing and the writing dies.

 
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