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Where I used to strive for movement and restlessness I now attempt to sense and express the complete total calm of objects and the surrounding air.
--
Expressionism by Norbert Wolf, Uta Grosenick (2004), p.40

 

Lyonel Feininger

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When we look at what is taking place in the world we begin to understand that there is no outer and inner process; there is only one unitary process, it is a whole, total movement, the inner movement expressing itself as the outer and the outer reacting again on the inner. To be able to look at this seems to me all that is needed, because if we know how to look, then the whole thing becomes very clear, and to look needs no philosophy, no teacher. Nobody need tell you how to look. You just look. Can you then, seeing this whole picture, seeing it not verbally but actually, can you easily, spontaneously, transform yourself? That is the real issue. Is it possible to bring about a complete revolution in the psyche?

 

Jiddu Krishnamurti

 

Only the passive, only those who accept their lot without active retaliation, are "flawless." Most of us are in that category.
But there are among us today, as there always have been, those who act against the scheme of things that degrades them, and in the process of action everything we have accepted out of fear of insensitivity or ignorance is shaken before us and examined, and from this total onslaught by an individual against the seemingly stable cosmos surrounding us — from this total examination of the "unchangeable" environment — comes the terror and the fear that is classically associated with tragedy. More important, from this total questioning of what has previously been unquestioned, we learn.

 

Arthur Miller

 

The "Theatre of the Absurd" has become a catch-phrase, much used and much abused. What does it stand for? And how can such a label be justified? Perhaps it will be best to attempt to answer the second question first. There is no organised movement, no school of artists, who claim the label for themselves. A good many playwrights who have been classed under this label, when asked if they belong to the Theatre of the Absurd, will indigniantly reply that they belong to no such movement — and quite rightly so. For each of the playwrights concerned seeks to express no more and no less his own personal vision of the world.
Yet critical concepts of this kind are useful when new modes of expression, new conventions of art arise.

 

Martin Esslin

 

Among the arts of expression one is suited to this purpose, another to that. It is hard to express movement in stone or rest in music. It is harder still to express permanence in speech.

 

L. P. Jacks

 

The Common Sense, is that which judges of things offered to it by the other senses. The ancient speculators have concluded that that part of man which constitutes his judgment is caused by a central organ to which the other five senses refer everything by means of impressibility; and to this centre they have given the name Common Sense. And they say that this Sense is situated in the centre of the head between Sensation and Memory. And this name of Common Sense is given to it solely because it is the common judge of all the other five senses i.e. Seeing, Hearing, Touch, Taste and Smell. This Common Sense is acted upon by means of Sensation which is placed as a medium between it and the senses. Sensation is acted upon by means of the images of things presented to it by the external instruments, that is to say the senses which are the medium between external things and Sensation. In the same way the senses are acted upon by objects. Surrounding things transmit their images to the senses and the senses transfer them to the Sensation. Sensation sends them to the Common Sense, and by it they are stamped upon the memory and are there more or less retained according to the importance or force of the impression.

 

Leonardo da Vinci