"It is the transcendent (or 'abstract' or 'self-contained') nature of music that the new so called concretism--Pop Art, eighteen-hour slices-of-reality films, musique concrete--opposes. But instead of bringing art and reality closer together, the new movement merely thins out the distinction."
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Igor Stravinsky and Robert Craft (1982). Themes and Conclusions, p.188. Berkley: University of California Press.Igor Stravinsky
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When one begins to work in order to bestow, and this goes against ones nature, this is called "toil," since the body (refers to ones wills and desires) opposes it, being that any movement which the body does not see that it will be use for itself, it opposes with all of its strength, and tremendous powers are needed to overcome it.
Baruch Ashlag
We speak of concrete and not abstract painting because nothing is more concrete, more real then a line, a colour, a surface. A woman, a tree, a cow; are these concrete elements in a painting? No. A woman, a tree and a cow are concrete only in nature; in painting they are abstract, illusionistic, vague and speculative. However, a plane is a plane, a line is a line and no more or no less than that. "Concrete painting". Spirit has arrived at the age of maturity…
Theo van Doesburg
The recognition of the light of reality within the darkness of abstraction is a contradiction – both the affirmation and the negation of the real at one and the same time. The new philosophy, which thinks the concrete not in an abstract but a concrete way, which acknowledges the real in its reality – that is, in a way corresponding to the being of the real as true, which elevates it into the principle and object of philosophy – is consequently the truth of the Hegelian philosophy, indeed of modern philosophy as a whole.
Ludwig Andreas Feuerbach
The crude product of nature, the object fashioned by the industry of man, acquire their reality, their identity, only to the extent of their participation in a transcendent reality.
Mircea Eliade
Of greatest significance to me has been the insight that I attained as a fundamental understanding from all of my LSD experiments: what one commonly takes as "the reality," including the reality of one's own individual person, by no means signifies something fixed, but rather something that is ambiguous — that there is not only one, but that there are many realities, each comprising also a different consciousness of the ego.
One can also arrive at this insight through scientific reflections. The problem of reality is and has been from time immemorial a central concern of philosophy. It is, however, a fundamental distinction, whether one approaches the problem of reality rationally, with the logical methods of philosophy, or if one obtrudes upon this problem emotionally, through an existential experience. The first planned LSD experiment was therefore so deeply moving and alarming, because everyday reality and the ego experiencing it, which I had until then considered to be the only reality, dissolved, and an unfamiliar ego experienced another, unfamiliar reality. The problem concerning the innermost self also appeared, which, itself unmoved, was able to record these external and internal transformations.
Reality is inconceivable without an experiencing subject, without an ego. It is the product of the exterior world, of the sender and of a receiver, an ego in whose deepest self the emanations of the exterior world, registered by the antennae of the sense organs, become conscious. If one of the two is lacking, no reality happens, no radio music plays, the picture screen remains blank.Albert Hofmann
Stravinsky, Igor
Street, John F.
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