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Read through the most famous quotes by topic #lag
I remember being unemployed and walking the East Village streets for many years, constantly checking my voice mail on pay phones, hoping for an audition. ↗
I was an artistic dilettante for a while, in photography and collage and the visual arts. ↗
#arts #collage #dilettante #i #photography
Old Deuteronomy's lived a long time; He's a Cat who has lived many lives in succession. He was famous in proverb and famous in rhyme A long while before Queen Victoria's accession. Old Deuteronomy's buried nine wives And more – I am tempted to say, ninety-nine; And his numerous progeny prospers and thrives And the village is proud of him in his decline. At the sight of that placid and bland physiognomy, When he sits in the sun on the vicarage wall, The Oldest Inhabitant croaks: "Well, of all … Things … Can it be … really! … No! … Yes! … Ho! hi! Oh, my eye! My mind may be wandering, but I confess I believe it is Old Deuteronomy!" Old Deuteronomy sits in the street, He sits in the High Street on market day; The bullocks may bellow, the sheep they may bleat, But the dogs and the herdsman will turn them away. The cars and the lorries run over the kerb, And the villagers put up a notice: ROAD CLOSED — So that nothing untoward may chance to disturb Deuteronomy's rest when he feels so disposed Or when he's engaged in domestic economy: And the Oldest Inhabitant croaks: "Well of all … Things … Can it be … really! … No! … Yes! … Ho! hi! Oh, my eye! My sight's unreliable, but I can guess That the cause of the trouble is Old Deuteronomy! ↗
The village lay in the hollow, and climbed, with very prosaic houses, the other side. Village architecture does not flourish in Scotland. The blue slates and the grey stone are sworn foes to the picturesque; and though I do not, for my own part, dislike the interior of an old-fashioned pewed and galleried church, with its little family settlements on all sides, the square box outside, with its bit of a spire like a handle to lift it by, is not an improvement to the landscape. Still, a cluster of houses on differing elevations - with scraps of garden coming in between, a hedgerow with clothes laid out to dry, the opening of a street with its rural sociability, the women at their doors, the slow waggon lumbering along - gives a centre to the landscape. It was cheerful to look at, and convenient in a hundred ways. ("The Open Door") ↗
Those who are truly alive are kindly and unsuspecting in their human relationships and consequently endangered under present conditions. They assume that others think and act generously, kindly and helpfully, in accordance with the laws of life. This natural attitude, fundamental to healthy children as well as primitive man, inevitably represents a great danger in the struggle for a rational way of life as long as the emotional plague subsists, because the plague-ridden impute their own manner of thinking and acting to their fellow men. A kindly man believes that all men are kindly, while one infected with the plague believes that all men lie and cheat and are hungry for power. In such a situation, the living are at an obvious disadvantage. When they give to the plague-ridden they are sucked dry, then ridiculed or betrayed. ↗
#exploitation #oppression #orgonem-emotional-plague #attitude
Accounts from Europe indicate that the danse macabre took another form, inspired by the Black Death, rather like our children's rhyme 'Ring o' Ring o' Roses', which refers to the Great Plague. In 1374, a fanatical sect of dancers appeared in the Rhine, convinced that they could put an end to the epidemic by dancing for days and allowing other people to trample on their bodies. It is not recorded whether they recovered but, incredibly, they began to raise money from bystanders. By the time they reached Cologne they were 500 strong, dancing like demons, half-naked with flowers in their hair. Regarded as a menace by the authorities, these dancers macabre were threatened with excommunication. ↗
… the countryside and the village are symbols of stability and security, of order. Yet they are also, as I have noted, liminal spaces, at a very narrow remove from the atavistic Wild. Arcadia is not the realm even of Giorgione and of Claude, with its cracked pillars and thunderbolts, its lurking banditti; still less is it Poussin’s sun-dappled and regularised realm of order, where, although the lamb may be destined for the altar and the spit, all things proceed with charm and gravity and studied gesture; least of all is it the degenerate and prettified Arcady of Fragonard and Watteau, filled with simpering courtier-Corydons, pallid Olympians, and fat-arsed putti. (It is only family piety that prevents me from taking a poker to an inherited coffee service in gilt porcelain with bastardised, deutero-Fragonard scenes painted on the sides of every damned thing. Cue Wallace Greenslade: ‘… “Round the Horne”, with Marie Antoinette as the dairymaid and Kenneth Williams as the manager of the camp-site….’) No: Arcadia is the very margin of the liminal space between the safe tilth and the threatening Wild, in which Pan lurks, shaggy and goatish, and Death proclaims, from ambush, et in Arcadia ego. Arcadia is not the Wide World nor the Riverbank, but the Wild Wood. And in that wood are worse than stoats and weasels, and the true Pan is no Francis of Assisi figure, sheltering infant otters. The Wild that borders and penetrates Arcady is red in tooth and claw. ↗
