Sometimes I imagine that there's a binary division going on in contemporary practice that has to do with chromatic versus diatonic. I notice that I tend to listen in a diatonic sense, that I register a pitch as a member of a diatonic scale, even in a non-tonal context.
Since graveyards are often built over older burial grounds, I assume Dolores Park was probably an Indian, (an Ohlone) graveyard before that. I think the fact that it has so many layers underneath the contemporary one intrigues me.
I find her [Frances Trollope] simply delightful, even in her prejudices and cantankerousness. It is a gift to an author to find a funny, wry, perceptive contemporary observer to whom the subject matter seems almost as different and alien, and requiring as much struggling to understand, as it did to me.
It's easy to say "This year in art sucked." After all, about 85 percent of all shows of contemporary art are bad. But 85 percent of all art made in the Renaissance was bad.
Sam's light-cycle, the car, and the jets are new of course, and other stuff. The new ones are sleeker and so contemporary, that if you could put them in a car design show they would hold up.
I like all sorts of things, not necessarily just Victorian. Even though I tend to read a lot of Victorian novels, I like a lot of contemporary stuff.
I'm not entirely sure what a historical novel absolutely has to be, but you don't want a reader who loves a very traditional historical novel to go in with the expectation that this is going to deliver the same kind of reading experience. I think what's contemporary about my book has something to do with how condensed things are.
History, when they do it, is ancient history, and they sensationalize even that. Contemporary history is virtually ignored on television.
I can't think offhand of any American poets who have Mandelstam's urgency, but it's a different country and a different time, and I don't think it would make much sense to say that this is something that's "missing" from contemporary American poetry.
What I wanted to try and figure out was, okay, in contemporary 21st century life the alienation between the self and the land around you or the self and even the urban landscape. You name it.
If you look at how great artists of the past, like Beethoven, for example dealt with art and morality, you see that there was torture and pain in their work, but there was also dignity in the way that was dealt with. So I don't buy this contemporary notion that the only way to be artistic is to be arrogant, offensive or immoral.
The findings in contemporary social sciences are helping us understand that we can find other ways to educate people and act against injustice and corruption in our society.
About 70% of what I've written about is centered on the clashes and conformities between the emerging life and physical sciences and older metaphysical frameworks in the 17th and 18th centuries. The other 30% consists of one-off essays or researches into other intriguing contemporary topics such as visual experience, aesthetics, social justice issues, and the epistemology of moral knowledge.
There is a lack of context in contemporary education. And contemporary consideration - because we live in those interiorities so much. Especially young kids who live by surfing the Web.
It's really important that we not replicate what came before us, but we do something of our own, that's reflective of our own time, of contemporary society.
I know that in some ways I operate from a kind of antiquated interest in imagery, while many contemporary poets are not so interested in imagery. I think part of it is my training, and just my visual sense of things.
I don't think there's any money to be made doing something that's that contemporary without having a spin on it. If there's a London riots film with zombies, that'd have more chance.
The big picture, I think, is that common ancestry is evidentially prior to natural selection in Darwin's theory and in contemporary evolutionary biology as well.
The racial categories that are used in a given society (for example, in contemporary America) are biologically meaningless, but sometimes it turns out that a vernacular racial category has biological reality.
[Bob] Dylan is a contemporary Don Quixote, at once besotted by the promise of America and yet also undermining it.
When I spoke at the 2012 Contemporary Women Writers' Conference in Taipei, I thought it offered an appropriate moment and site to announce my new manifesto10 and profession - to be a writer.
I think there are one or two things similar in Elizabethan English and contemporary Hebrew. This is not to say that every one of us Israeli writers is a William Shakespeare, but there is a certain similarity to Elizabethan English.
One of my favourite contemporary fiction writers is a Texan, Ben Fountain. His extraordinary novel, Billy Lynn's Long Half-Time Walk, all takes place within the half-time show at a Dallas Cowboys football game. No one has better summed up the American appetite for spectacle, the link between sports and politics, and the absolute madness of George W. Bush's Iraq War.
I have to face questions like, "Do I simply write the best text I possibly can? Do I specifically engage with contemporary issues? 'Do I consciously try to write something that is timeless?"
Why are the mainstream buzz things rarely contemporary? It doesn't happen very often. It's hard to feel culpable or implicated or even apathetic.
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