I'm sure the movie industry is going up but I would love to see more Chinese films about contemporary Chinese about the problems of life on the street.
I've always loved writing emotionally rich, character-driven novels that explore the way people fall in love and deal with life's triumphs and tragedies. I enjoy writing the contemporary and historical books equally, though perhaps 'enjoy' is the wrong word.
Beyond a narrow, elite audience, there is a pervasive sense from the side of the public that much contemporary art fails to connect - a failure not evident throughout centuries of earlier art.
I would say that most of my books are contemporary realistic fiction... a couple, maybe three, fall into the 'historic fiction' category. Science fiction is not a favorite genre of mine, though I have greatly enjoyed some of the work of Ursula LeGuin. I haven't read much science fiction so I don't know other sci-fi authors.
My parents met in music school and my father was a music professor and conductor. Growing up, we always had classical and contemporary music playing. There was a lot of Mozart and the Beatles.
This desire to fashion, to shape, a self and a life has all but gone from a contemporary culture whose emphasis, paradoxically enough, is so much on self.
Those who are truly contemporary are those who neither perfectly coincide with their time nor adapt to its demands...Contemporariness, then, is that relationship with time that adheres to it through a disconnection.
If I had to design a mechanism for the express purpose of destroying a child's natural curiosity and love of pattern-making, I couldn't possibly do as good a job as is currently being done-I simply wouldn't have the imagination to come up with the kind of senseless, soul-crushing ideas that constitute contemporary mathematics education.
While I know that the beautiful, the spiritual and the sublime are suspect today, I have begun to stop resisting the constant urge to deny that beauty has a valid right to exist in contemporary art.
There was an exhibition in Munich in 1937, 'Degenerate Art,' which included work by Klee, Kandinsky, Beckmann and many others. The work was called 'sick' and put in the trash heap. The sentiments expressed toward contemporary art by Jesse Helms, Pat Robertson and Mayor Giuliani recall the language used by the Nazis.
Contemporary art will help me to modernise our society.
For me it's very important to turn Kiev into one of the main centers of contemporary art in the world. There is New York. There's London. And there will be Kiev. Everyone will come and say, 'Wow!
What is extraordinary about contemporary art is the energy - it has our energy. New energy. Pieces hundreds of years old are beautiful from an aesthetic point of view, but without our modern energy.
One often forgets that even if art is a very successful field in contemporary culture, there are still a lot of people alienated by it. Even if people don't fully understand where my work is coming from, at least there's somebody who looks kind of sane standing in front of you and politely engaging with you. People react.
It is very difficult to build contemporary architecture in Italy
By the late Nineties, we had become a more visual nation. Big-money taste moved to global standards - new architecture, design and show-off contemporary art. The Sloane domestic aesthetic - symmetry, class symbolism and brown furniture - became as unfashionable as it had been hot in the early Eighties.
I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.
I abandoned the extraterrestria l hypothesis in 1967 when my own field investigations disclosed an astonishing overlap between psychic phenomena and UFOs ... The objects and apparitions do not necessarily originate on another planet and may not even exist as permanent constructions of matter. It is more likely that we see what we want to see and interpret such visions according to our contemporary beliefs.
We have evidence all around us in our daily analytic practice and in contemporary world history that this earth-shaking archetypal event is taking place here and now. It has already started. It is manifesting itself in international relations; in the breakdown of the social structures of Western civilization; in political, ethnic, and religious groupings; as well as within the psyches of individuals- the momentous event of the coming of the self into conscious realization.
No scientist or student of science, need ever read an original work of the past. As a general rule, he does not think of doing so. Rutherford was one of the greatest experimental physicists, but no nuclear scientist today would study his researches of fifty years ago. Their substance has all been infused into the common agreement, the textbooks, the contemporary papers, the living present.
People see their own lives as stories; a lifelong story with a single hero or heroine... much contemporary unhappiness is due to the fact that people in high tech societies receive neither strong myths and stories from their culture nor the ability to construct their own... they lose the plot.
The contemporary tendency in our society is to base our distribution on scarcity, which has vanished, and to compress our abundance into the overfed mouths of the middle and upper classes until they gag with superfluity. If democracy is to have breadth of meaning, it is necessary to adjust this inequity. It is not only moral, but it is also intelligent. We are wasting and degrading human life by clinging to archaic thinking.
A society which believes in a worthwhile future saves in the present so as to invest in the future. Contemporary Western society spends in the present and piles up debts for the future, ravages the environment, and leaves its grandchildren to cope with the results as best they can.
Every work brings new and different challenges. Research is always helpful, regardless of whether the play is contemporary or not.
I used to joke that one of the reasons there was a lack of classical work on my CV was because I couldn't operate in those kinds of trousers. Which is a joke, but it's actually also true - if I want to appear in public I want to look my best. If I'm onstage I like to do contemporary work, largely because of the trousers, because of the clothes. I like a decent, what we used to call a lounge suit. Then I can start to motor.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: