What we need is a critique of visual culture that is alert to the power of images for good and evil and that is capable of discriminating the variety and historical specificity of their uses.
By geo-historical standards, today's atmospheric CO2 levels are remarkably - indeed dangerously - low. We need CO2 in the air to support plant growth and agricultural yields, and more would be better.
I have found on Alpha that those from an essentially enlightened background feel at home with the parts of the course which appeal to the mind, but often have difficulty in experiencing the Holy Spirit. Others coming from the New Age movement find that rational and historical explanations leave them cold, but at the weekend away they are on more familiar territory in experiencing the Holy Spirit
NEU!'s music will always ("für immer") be a part of me and I absolutely stand to what we've created. Of course I have changed since and I judge my contributions to NEU!'s music of the 70's in a historical context. They were both a description of my feelings back then as well as an expression of my musical abilities and limitations. It would be a mistake to ignore the time factor and it would be an artistic shortcoming to pick up on the old concept without doing any changes. There is no way this is going to happen anyway.
I believe the example of the Zapatistas is a very relevant historical example. I would say it is one of the forms at the idea level, and through the work they have achieved, one of the most dignified historical examples that has happened in the history of the world.
I believe that white people need to check themselves, account for their privileges, and undergo whatever interaction with communities of color with that understanding. They have to add up all those processes and articulate those privileges to try to equalize the historical process.
....the popular music of Jamaica, the music of the people, is an essentially experiential music, not merely in the sense that the people experience the music, but also in the sense that the music is true to the historical experience, that the music reflects the historical experience. It is the spiritual expression of the historical experience of the Afro-Jamaican.
That the language of the poetry of Jamaican music is rastafarian or biblical language cannot simply be put down to the colonizer and his satanic missionaries. The fact is that the historical experience of the black Jamaican is an experience of the most acute human suffering, desolation and despair in the cruel world that is the colonial world.
Each religion necessarily contradicts every other religion, and probably contradicts itself. Religions, like languages, are necessary rivals. What religion a man shall have is a historical accident, quite as much as what language he shall speak.
What would become of all historical biography if it was written only with consideration for other peoples' feelings?
Muse, time has taught me that all metaphysical systems, even historical facts given as truths, are hardly that, so I amuse myself with more agreeable lies; I no longer read anything but novels.
We fight wars not to have peace, but to have a peace worth having. Slavery is peace. Tyranny is peace. For that matter, genocide is peace when you get right down to it. The historical consequences of a philosophy predicated on the notion of no war at any cost are families flying to the Super Bowl accompanied by three or four trusted slaves and a Europe devoid of a single living Jew.
I had no idea of the historical evolution of the civilized world's music and had not realized that all modern music owes everything to Bach.
The most advanced, creative and original thinking is always a product of historical context and the influences of previous geniuses, mentors, and collaborators on the mind of the originator.
For long, history was mainly political history, and historical narrative was confined to an account of the most important crises in political life, or to an account of wars and great generals.
The labours I devoted between 1888 to 1900 to the critical edition, translation and commentary of Kalhana's Rajatarangini, the only true historical text of Sanskrit literature, afforded me ample opportunities of gaining close contact with Sanskrit savants of Kashmir, the land where traditional learning of Hindu India had flourished in old times greatly and survived until recent years.
Cynicism, disillusionment, and a dispiriting sense of purposeless has cast a shadow over American society seriously draining it of any language or vision that might imagine a different sort of society from the dysfunctional, militarizing, and deeply unequal social order that marked the current historical period.
But we need more than a broader understanding of what is a good society or a moral and political critique of the existing market fundamentalism engulfing American society, we also need to create new forms of solidarity, new and broad based social movements that move beyond the isolated and fractured politics of the current historical moment.
There were some types of sanctions that happen in the public world that made my work acceptable, where someone looks at the paintings and they don't - they may go, "okay," and then look at it in a different sort of way. Instead of just looking at it as some type of wild art, they look at it in a historical perspective or context.
My friends in prison were mostly women more like myself: not historical figures who I did not relate to as peers, but hookers and addicts.
As a publisher and author, I'm a big fan of historical fiction and also memoir.
For me, writing historical fiction is all about finding a balance between reading, traveling, looking, imagining, and dreaming.
During World War I the Canadians were the shock troops. In many historical cases, Canadians have been very proficient at killing, and doing what we have to in order to survive. But no one wants to acknowledge that fact.
We [Americans] have a historical trauma when it comes to the past relationships when it comes to Native Americans and the history of how America was created. With this film, it's nice to see that the trauma is presented from a white male that was in the Civil War and that trauma affects him in a way that still exists.
Those traumas when it comes to the historical past generation to generation; our children, our grandchildren, our future grandchildren learn these behaviors. We have to know that they exist and we have to take care of those traumas and learn to heal from them. This movie shows that perspective from Scott's character, and I love it. It shows the American Indians as the ones who respect and help out when people are needed. It's a nice little twist.
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