There is no foreground or background, only a continuity of interlacing relationships
My foregrounds are imaginary, my backgrounds real.
Moving ourselves to the background and others to the foreground is evidence that the (spiritual) search is achieving its purpose.
We have as many planes of speech as does a painting planes of perspective which create perspective in a phrase. The most important word stands out most vividly defined in the very foreground of the sound plane. Less important words create a series of deeper planes.
I gravitate toward the larger worldview questions such as, Why are we here? What are we supposed to be doing? What does it mean to know another person? To love someone? Of course, those questions are sort of in the background as I'm playing with language in the foreground, but those are the informing questions.
Start with the foreground. Compositions fail when the foreground is treated as an afterthought.
If there's no background, no foreground, no opposition, no complements, then there's no change becasue there's no subject and object.
It's a foreground of my feeling. That place moves me. And I don't mean my country; it's part of our shared natural world that happens to be particular to a sense of wherever my storytelling inclinations come from and my own history of kind of being a road rat and travelling.
The cloud controls the light ... It is the cloud that, holding the sun's rays in a sheaf as a giant holds a handful of spears, strikes the horizon, touches the extreme edge with a delicate revelation of light, or suddenly puts it out and makes the foreground shine.
Avoid distant views, paint objects close up. If the foreground is well done the distance will take care of itself.
I have sympathy for young people, for their growing pains, but I balk when these growing pains are pushed into the foreground, when you make these young people the only vehicles of lifes wisdom.
I've gradually risen from lower-class background to lower-class foreground.
If character is the foreground of fiction, setting is the background, and as in a painting's composition, the foreground may be in harmony or in conflict with the background.
If there's loads of material going by you don't notice the individual things quite so much. Also it really foregrounds the sonic dimensions like electronic ambient music, it's pushes all of that colour to the foreground so you hear little every atom of sound.
Viewed from the distance of the moon, the astonishing thing about the earth, catching the breath, is that it is alive. The photographs show the dry, pounded surface of the moon in the foreground, dry as an old bone. Aloft, floating free beneath the moist, gleaming, membrane of bright blue sky, is the rising earth, the only exuberant thing in this part of the cosmos.
What I need is perspective. The illusion of depth, created by a frame, the arrangement of shapes on a flat surface. Perspective is necessary. Otherwise there are only two dimensions. Otherwise you live with your face squashed up against a wall, everything a huge foreground, of details, close-ups, hairs, the weave of the bedsheet, the molecules of the face. Your own skin like a map, a diagram of futility, criscrossed with tiny roads that lead nowhere. Otherwise you live in the moment. Which is not where I want to be.
I have formed a very clear conception of patriotism. I have generally found it thrust into the foreground by some fellow who has something to hide in the background. I have seen a great deal of patriotism; and I have generally found it the last refuge of the scoundrel.
My picture of the world is drawn in perspective and not like a model to scale. The foreground is occupied by human beings and the stars are all as small as three-penny bits. I don't really believe in astronomy, except as a complicated description of part of the course of human and possibly animal sensation. I apply my perspective not merely to space but also to time. In time the world will cool and everything will die; but that is a long time off still and its present value at compound discount is almost nothing.
There is in my work a very strong religious foreground and background. In the later work some of that tends to diminish, but it's certainly present in the early work.
Generally speaking, geologists seem to have been much more intent on making little worlds of their own, than in examining the crust of that which they inhabit. It would be much more desirable that facts should be placed in the foreground and theories in the distance, than that theories should be brought forward at the expense of facts. So that, in after times, when the speculations of the present day shall have passed away, from a greater accumulation of information, the facts may be readily seized and converted to account.
Without art we would be nothing but foreground and live entirely in the spell of that perspective which makes what is closest at hand and most vulgar appear as if it were vast, and reality itself.
The finest landscape in the world is improved by a good inn in the foreground.
Whenever the strength of a belief strongly steps into the foreground, we must infer a certain weakness of demonstrability and the improbability of that belief.
So much of my work is defined by the difference between the figure in the foreground and the background. Very early in my career, I asked myself, "What is that difference?" I started looking at the way that a figure in the foreground works in eighteenth- and nineteenth-century European paintings and saw how much has to do with what the figure owns or possesses. I wanted to break away from that sense in which there's the house, the wife, and the cattle, all depicted in equal measure behind the sitter.
Dr. Rosenberg has brought the simplicity of successful communication into the foreground. No matter what issue you're facing, his strategies for communicating with others will set you up to win every time.
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