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I see it as a renaissance we’re hoping for in filmmaking. It’s a way of life, it’s a philosophy

 

Jessica Mae Stover

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I cannot help thinking that historians, looking back from the far future, will record this age as the Third Renaissance. We who are lost in it, working or looking on, can neither tell what we are doing, nor where standing; but we cannot help observing, that, just as in the Greek Renaissance, worn-out Pagan orthodoxy was penetrated by new philosophy; just as in the Italian Renaissance, Pagan philosophy, reasserting itself, fertilised again an already too inbred Christian creed; so now Orthodoxy fertilised by Science is producing a fresh and fuller conception of life — a love of Perfection, not for hope of reward, not for fear of punishment, but for Perfection's sake. Slowly, under our feet, beneath our consciousness, is forming that new philosophy, and it is in times of new philosophies that Art, itself in essence always a discovery, must flourish. Those whose sacred suns and moons are ever in the past, tell us that our Art is going to the dogs; and it is, indeed, true that we are in confusion! The waters are broken, and every nerve and sinew of the artist is strained to discover his own safety. It is an age of stir and change, a season of new wine and old bottles. Yet, assuredly, in spite of breakages and waste, a wine worth the drinking is all the time being made.

 

John Galsworthy

 

Philosophy—reduced, as we have seen, to philosophical discourse—develops from this point on in a different atmosphere and environment from that of ancient philosophy. In modern university philosophy, philosophy is obviously no longer a way of life, or a form of life—unless it be the form of life of a professor of philosophy.

 

Pierre Hadot

 

"History has not yet registered a stable appraisal for Giordano Bruno" writes Giorgio de Santillana in The Age of Adventure. Perceptions of Bruno were volatile enough in his lifetime; many have remained polarized to this day. Radoslav Tsanoff calls Bruno "the outstanding philosopher of the Renaissance," and Harold Hoffding cites Bruno's work as "the greatest philosophical thought-structure executed by the Renaissance." Yet Bertrand Russell despairs of crediting Bruno with philosophy at all: "There were fruitful intuitions lost in that disorder, but they had not yet reached the point of precision at which philosophy begins." The chasm of opinion dividing Bruno, even to this day, is one of the many improbables of this turbulent and exultant figure.

 

Giordano Bruno

 

Philosophy has to grant that revelation is possible. But to grant that revelation is possible means to grant that philosophy is perhaps something infinitely unimportant. To grant that revelation is possible means to grant that the philosophic life is not necessarily, not evidently, the right life. Philosophy, the life devoted to the quest for evident knowledge available to man as man, would itself rest on an unevident, arbitrary, or blind decision. This would merely confirm the thesis of faith, that there is no possibility of consistency, of a consistent and thoroughly sincere life, without belief in revelation. The mere fact that philosophy and revelation cannot refute each other would constitute the refutation of philosophy by revelation.

 

Leo Strauss

 

Renaissance Italy became a kind of Hollywood collection of sets of antiquity, and the new visual antiquarianism of the Renaissance provided an avenue to power for men of any class.

 

Marshall McLuhan