I started reading contemporary fiction in college or right after college. It wasn't as if I was steeped in experimental minimalism when I was twelve or something. I was reading The Witch of Blackbird Pond.
Everyone has pencils in their house, no matter how hip and contemporary they are.
The anti-globalization movement is one of the biggest globalized events of the contemporary world, people coming from everywhere, Australia, Indonesia, Britain, India, Poland, Germany, South Africato demonstrate in Seattle or Quebec. What could be more global than that?
Not a lot of contemporary fiction is written about brothers and sisters. Salinger's Franny and Zooey was an inspiration for me. In Franny and Zooey, the sister gets in trouble and the brother comes to help her out. But I wanted to make sure that in my novel the sister had more to do than lie around on a sofa muttering, which is what Franny does for two-thirds of Salinger's novel.
I thought I should try something relatively inexpensive, relatively contained, relatively small. I started working on a feature, a film I'd still like to make: a very talky film of people and ideas about our contemporary state with regard to relationships, marriage, sex, and romance. I started trying to educate myself about filmmaking.
In one way, it is this sense of order and also love that, I think, really saved Eleanor Roosevelt's life. And in her own writing, she's very warm about her grandmother, even though, if you look at contemporary accounts, they're accounts of horror at the Dickensian scene that Tivoli represents: bleak and drear and dark and unhappy. But Eleanor Roosevelt in her own writings is not very unhappy about Tivoli.
There were the events of 1968 when young people began to ask their parents, what did you do in the war? And since the middle- or late-'70s, the French have been absolutely obsessed with the Vichy regime. They have an institute of contemporary history that turns out first-rate scholarly work. Their textbooks are accurate. Whether the students actually read them is another matter.
The place has had a super-conflicted relationship to its mission. In 1956, it opened as the Museum of Contemporary Crafts. Then in 1986 it had a midlife crisis and changed its name to the American Craft Museum. Then in 2002 the name changed again, this time to the Museum of Arts and Design. Maybe in 2025 the place will be called the Designatorium. The big problem with a museum of craft and design is that all art has craft and design.
The 1,000 Buddha, to me, is almost like a contemporary art piece.
[Takashi] Murakami, do you think he is spiritual? He is more like de-spiritualized. De-spiritualized might be the most contemporary aspect of the human mind.
Imagine my delight and awe when I discovered such a thing was a real genre - contemporary fantasy or urban fantasy. It was like having my birthday twice in one week and cookie dough for breakfast.
The main advantage of being a reviewer is that you read a lot. A lot of books get sent to you, and you have an amazing vantage point from which to observe what's going on in contemporary fiction - not only genre stuff, the whole spectrum.
And one thing the void certainly can teach us is how to wait, how to become truly patient, and how to let go of superfluous intellectual baggage - all of which is a good lesson for hyper-agitated multi-tasking goal-focussed contemporary human beings.
It's strange that in an age when we pride ourselves on our independence of thought we meekly submit without further question to the declaration of a clearly unbalanced nineteenth century philosopher that God is dead! That's cheeky, of course - and one rarely comes away from reading Nietzsche without learning something new and significant. He's certainly FAR more unsettling for faith than any contemporary atheist I know of.
I think a lot of people trying to follow Buddhism these days are getting confused about sex and they don't understand what's going on. They've been exposed to a contemporary Christian idea that sex itself is evil and bad, which I'm not so sure was Jesus' idea. For me, the Buddhist approach isn't that sex itself is evil or bad but that sex is neutral. It's the way you do it that can problematic.
Where names of people or places would mean little to a contemporary reader, I figured "translation errors" could create interesting new meanings.
I had no idea what philosophy was until I went to college at UBC. I first read Hume and Plato, so naturally I was under the misapprehension that philosophers are trying to figure out what is true, and that contemporary philosophers are mainly trying to figure out what is true about the mind. Of course Hume and Plato were trying to do that, hence my misapprehension.
Eventually I realized that for contemporary philosophers conceptual analysis per se was an end in itself. For some, it was somehow supposed to lead to the truth about these phenomena, not just to tidy things up a bit.
It's weird because I think of movies like Reality Bites or something, where, even though my life was nothing like that, I hadn't done something contemporary for a while, and it's easier. You do try to make something your own.
Since substance is infinite, the universe as a whole, i.e., god, Hegel is telling us that philosophy is knowledge of the infinite, of the universe as a whole, i.e, god. You cannot get more metaphysical than that. I think that Hegel scholars have to admit this basic fact rather than burying their heads in the sand and trying to pretend that Hegel is concerned with conceptual analysis, category theory, normativity or some such contemporary fad.
All the spookiness comes from giving a contemporary anachronistic sense to terms whose historical meaning is lost to us.
The use of neuroscientific data to help resolve phenomenological questions is proving a common theme in much contemporary thinking about the mind. How rich are the contents of visual perception? Does vision only tell us about shapes and colours, or does it also represent higher categories like lemon or umbrella?
So, for a book set in 2006, Open City evades certain markers, while it embraces certain others. Julius doesn't use a smartphone, and he doesn't discuss contemporary US politics in any fine detail.
I think it's different in fashion, because even if I would be an outsider, I would still be in the middle of the whole world of contemporary fashion. But it's interesting to think what outsider fashion could be. Does it mean to be completely disconnected from the regular system or just disconnected style-wise?
I do think that an understanding of contemporary work in the cognitive sciences has a profound effect on how one views the workings of the mind. It doesn't work the way we pretheoretically think it does. Such an understanding, of course, should have a large effect on one's views in philosophy of mind, but also in epistemology.
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