Baroque Quotes
The best sayings about Baroque that you can share on Instagram, Pinterest, Facebook and other social networks!
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The merry-go-round was running, yes, but... It was running backward. The small calliope inside the carousel machinery rattle-snapped its nervous-stallion shivering drums, clashed its harvest-moon cymbals, toothed its castanets, and throatily choked and sobbed its reeds, whistles, and baroque flutes.
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Whenever the C++ language designers had two competing ideas as to how they should solve some problem, they said, "OK, we'll do them both". So the language is too baroque for my taste.
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Several factors besides skill are more significant in professional writers than in most amateurs. One is love of the surface level of language: the sound of it; the taste of it on the tongue; what it can be made to do in virtuosic passages that exist only for their own sake, like cadenzas in baroque concerti. Writers in love with their tools are not unlike surgeons obsessed with their scalpels, or Arctic sled racers who sleep among their dogs even when they don't have to.
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I think what inspires me is in a constant state of flux...it's easier to stick to photographers and perhaps cinematographers, though the great medieval, Mannerist, and Baroque painters of Italian, Spanish, Flemish, and German origin are a constant source of inspiration, along with select modernists like Dali.
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A contemporary artist can use the findings of all epochs and all styles, from the most primitive literary expressions up to the most refined products of the baroque.
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Margaret Kochamma's tiny, ordered life relinquished itself to this truly baroque bedlam with the quiet gasp of a warm body entering a chilly sea.
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The white race is the cancer of human history.
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I think, you know, for someone who does play, let's say, old music or, you know, Baroque music or Renaissance music - and you know, and I do play a lot of that, obviously - engaging with new composers, engaging with young composers, is really exciting because it makes me look at people of the past in a very different way that they are also living, that there was a lot of subjectivity in the decisions that they were making.
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The Humbling is not vintage Roth, despite its compelling premise. The bizarre series of episodes -- mostly sexual encounters with women -- which make up this short novel don't play to Roth's strengths. (...) The Humbling disappoints because it avoids these universal implications, and veers off into a baroque world of the unique and fantastic, never quite deigning to make its world concrete or to give its characters the honour of an independent will.
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In fact, the underlying principle of the baroque is the idea of transformation, of movement, and animals becoming man, and man becoming animals, and mythology. It was a way to inspire pre-Christian character.
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But then life is never neat, it is made up of doors and trapdoors. You move down baroque corridors, and even when you think you know which door to open, you still need to have the courage to choose.
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When I say that there's commonality, I mean more in terms of the sort of techniques by which we perceive Baroque and minimalist music rather than the techniques used to compose them. I know that's being sort of overly complicated.
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I was trying to run something to ground that had come to my attention when I was working on the Baroque Cycle. That series, of course, was about the conflict between Newton and Leibniz. Leibniz developed a system of metaphysics called monadology, which looked pretty weird at the time and was promptly buried by Newtonian-style physics.
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I'm not a designer who is very interested in baroque or in fantasy or in the fantastic side of fashion. This exists and this is important, but I'm interested in the very real dimensions.
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I still the love classic period, but also the baroque period, and even 17th-Century music such as the music of Monteverdi. He's one of the greatest opera composers. He was the one who really started the opera.
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While there are so many beautiful Baroque churches and it's a beautiful artistic tradition, it almost gets hideous and grotesque if you push it further. You can take something beautiful and overdo it.
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In years to come cities will stretch out horizontally and will be non-urban (Los Angeles). After that, they will bury themselves in the ground and will no longer have names. Everything will become infrastructure bathed in artificial light and energy. The brilliant superstructure, the crazy verticality will have disappeared. New York is the final fling of this baroque verticality, this centrifugal excentricity, before the horizontal dismantling arrives, and the subterranean implosion that will follow.
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Jazz, for me, is a closed circuit, like the term baroque in the world of classical music.
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So a lot of what you see in the Baroque Cycle is me wanting to be one of those guys. In the case of Anathem, I needed something that was more formal, less flashy, as if it had been translated from the classical language of another planet, but enlivened with slang terms that a teenage narrator would enjoy throwing around.
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Borne out of this, starting around the 17th Century was the Baroque era. It is my view that it is one of the architectural peak periods in western civilisation.
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What I like about baroque is the reemergence of pre-Christian religion. The art of baroque mixes ancient pre-Christian myths with Christian imagery and each reflects upon the other.
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I listen to music when I write. I need the musical background. Classical music. I'm behind the times. I'm still with Baroque music, Gregorian chant, the requiems, and with the quartets of Beethoven and Brahms. That is what I need for the climate, for the surroundings, for the landscape: the music.
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It is the Late city that first defies the land, contradicts Nature in the lines of its silhouette, denies all Nature. It wants to be something different from and higher than Nature. These high-pitched gables, these Baroque cupolas, spires, and pinnacles, neither are, nor desire to be, related with anything in Nature. And then begins the gigantic megalopolis, the city-as-world, which suffers nothing beside itself and sets about annihilating the country picture.
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I would define the baroque as that style that deliberately exhausts (or tries to exhaust) its own possibilities, and that borders on self-caricature. The baroque is the final stage in all art, when art flaunts and squanders its resources.
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I had the right amount of detachment to go back and really appreciate what I had grown up with. There’s a particular style that is very Peru that you don’t see anywhere else; it’s got so many different imprints. When you mix Incan minimalism with the heavy, ornate Spanish Baroque, it is very interesting.
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Kitsch is the contemporary form of the Gothic, Rococo, Baroque.
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Normally, things are viewed in these little segmented boxes. There's classical, and then there's jazz; romantic, and then there's baroque. I find that very dissatisfying. I was trying to find the thread that connects one type of music - one type of musician - to another, and to follow that thread in some kind of natural, evolutionary way.
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I'll never be a minimalist. The fact that the prose is more tightly controlled doesn't for a minute mean that it's minimalist. I very much like arcane words and baroque sentence structure.
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I think in Baroque music, especially in the case of Bach, what really transformed Bach's musical language, what changed it for him was hearing Vivaldi, hearing the sort of manipulation of small cells of information and patterns in order to generate sort of huge blocks of harmony.
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I'm not able to completely escape naturalism. It's very difficult to escape from naturalism without being too dry. That's what I try to do in my cinema - escape naturalism and do films that are, at the same time, realistic but have a lot of fantasy. It's very difficult in cinema to get away from what life is about, from real life. The way the actors work has to be realistic - you can't do Baroque acting - so it's very complicated. And, we're human beings, so we're not perfect. I'm trying to do something different.
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