“I don’t claim to be wise. Well, actually I do. It’s just that I am not wise.”
Sebastian Sleeve, The Random Walk and Other Stories.
What can be said about any “serious” painting today? That it is an advertisement for Contemporary Art.
Tobias Esterhase, Codes and Encoding.
The real world is a place of smudges and smears and complications. Classical Mechanics—indeed, Physical Chemistry itself—simultaneously accounts for that world and escapes it.
Forrest W. Wilhelm, A Reconsideration of Kinetics.
The weakness of any “theory” can be seen in the fact that we quickly find it too inconvenient to keep regarding it as theory. Soon enough, it must be taken as fact. (The tentative considered as a form of pain?) Of course, there is one alternative: the theory can be discarded.
Stefan Jannings, Prolegomena to Any Future.
It is now time to consider that, in this culture, “wasting [my] time” is an accomplishment. A positive achievement.
Addison West, The Ontology of Destruction.
The “creativity of the artist”. Of all the modernist dreams that you dwell in, can’t you at least wake from that one?
Lila Lawyer, Letters to My Daughter.
“There are no facts. They do not exist.” Oh, but is that a fact? Of course, it is a crucial question.
Raymond Sapulpa, Circus Giganticus.
I would notice everything. Everything. All things visual, olfactory, tactile, aural. Smudges, perfumes, shrieks, rough edges. Everything. Yes, if I were a taxi driver, I would make a point of noticing.
Roger Penberthy, A Non-Newtonian Unpleasantness.
Today’s artists love modernity (modernism, postmodernism,…). They all love it night and day. Their chief fear is this: That if they were to stop loving it—for even one second—it would all come tumbling down.
Logan Nygaard, A Treatise on Amusement.
It is not what school you attended. It’s what schooling you can forget.
Hampton Fancher, Variations on the Red Barn Con.
