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Read through the most famous quotes by topic #class
I had a few good professors in my painting and drawing classes, but all my graphic design classes tried to teach us how to use Photoshop and Illistrator by showing the class demonstration video clips. You know, exactly like the kind you can watch for free on Youtube, except these video clips cost me thousands of dollars to watch. I felt like I paid a lot of money to learn martial arts, only to show up to find the instructor is fat, sluggish, and cowardly, and he tries to overcome that by trying to teach us how to fight by showing us Chuck Norris movies. (Fact: Chuck Norris could teach me how to fight without even bothering to show up to class). ↗
#class #classes #college #debt #illustrator
Considering thus how much honor is awarded to antiquity, and how many times—letting pass infinite other examples—a fragment of an ancient statue has been bought at high price because someone wants to have it near oneself, to honor his house with it, and to be able to have it imitated by those who delight in that art, and how the latter then strive with all industry to represent it in all their works; and seeing, on the other hand, that the most virtuous works the histories show us, which have been done by ancient kingdoms and republics, by kings, captains, citizens, legislators, and others who have labored for their fatherland, are rather admired than imitated—indeed they are so much shunned by everyone in every least thing that no sign of that ancient virtue remains with us—I can do no other than marvel and grieve… From this it arises that the infinite number who read [the histories] take pleasure in hearing of the variety of accidents contained within them without thinking of imitating them, judging that imitation is not only difficult but impossible—as if heaven, sun, elements, men had varied in motion, order, and power from what they were in antiquity. Wishing, therefore, to turn men from this error, I have judged it necessary to write on all those books of Titus Livy... ↗
When sonneteering Wordsworth re-creates the landing of Mary Queen of Scots at the mouth of the Derwent - Dear to the Loves, and to the Graces vowed, The Queen drew back the wimple that she wore - he unveils nothing less than a canvas by Rubens, baroque master of baroque masters; this is the landing of a TRAGIC Marie de Medicis. Yet so receptive was the English ear to sheep-Wordsworth's perverse 'Enough of Art' that it is not any of these works of supreme art, these master-sonnets of English literature, that are sold as picture postcards, with the text in lieu of the view, in the Lake District! it is those eternally, infernally sprightly Daffodils. ↗
i was really into communal living and we were all / such free spirits, crossing the country we were / nomads and artists and no one ever stopped / to think about how the one working class housemate / was whoring to support a gang of upper middle class / deadheads with trust fund safety nets and connecticut / childhoods, everyone was too busy processing their isms / to deal with non-issues like class....and it’s just so cool / how none of them have hang-ups about / sex work they’re all real / open-minded real / revolutionary you know / the legal definition of pimp is / one who lives off the earnings of / a prostitute, one or five or / eight and i’d love to stay and / eat some of the stir fry i’ve been cooking / for y’all but i’ve got to go fuck / this guy so we can all get stoned and / go for smoothies tomorrow, save me / some rice, ok? ↗
Given the freedom to create, everybody is creative. All of us have an innate, instinctive desire to change our environment, to put our original stamp on this world, to tell a story never told before. I’m absolutely thrilled at the moment of creativity – when suddenly I’ve synthesized my experiences, reality, and my imagination into something entirely new. But most people are too busy working on survival to find the opportunity to create. Fortunately, I’ve been freed by reputation, by the economics of success, and by emotional contentment to turn my ideas into reality. I’ve discovered that the more freedom I have to be creative, the more creative I become. ↗
He wondered about the people in houses like those. They would be, for example, small clerks, shop-assistants, commercial travellers, insurance touts, tram conductors. Did they know that they were only puppets dancing when money pulled the strings? You bet they didn’t. And if they did, what would they care? They were too busy being born, being married, begetting, working, dying. It mightn’t be a bad thing, if you could manage it, to feel yourself one of them, one of the ruck of men. Our civilization is founded on greed and fear, but in the lives of common men the greed and fear are mysteriously transmuted into something nobler. The lower-middle-class people in there, behind their lace curtains, with their children and their scraps of furniture and their aspidistras — they lived by the money-code, sure enough, and yet they contrived to keep their decency. The money-code as they interpreted it was not merely cynical and hoggish. They had their standards, their inviolable points of honour. They ‘kept themselves respectable’— kept the aspidistra flying. Besides, they were alive. They were bound up in the bundle of life. They begot children, which is what the saints and the soul-savers never by any chance do. The aspidistra is the tree of life, he thought suddenly. ↗
