text:
User talk:Silver thorn88

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 12:06, 26 January 2007 (UTC)
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title: User talk:Silver thorn88


text:
User talk:Zaysie

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 12:07, 26 January 2007 (UTC)
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license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User talk:Zaysie


text:
User talk:Spystarry

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 12:07, 26 January 2007 (UTC)
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title: User talk:Spystarry


text:
User talk:Ycsunil~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 12:07, 26 January 2007 (UTC)
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Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Ycsunil. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Ycsunil~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:39, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 06:01, 19 April 2015 (UTC)

title: User talk:Ycsunil~enwikiquote


text:
User talk:RAJAT MARS

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 12:07, 26 January 2007 (UTC)
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title: User talk:RAJAT MARS


text:
User talk:Absolupouvoir

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 12:07, 26 January 2007 (UTC)
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 * Be bold.

title: User talk:Absolupouvoir


text:
User talk:Frank Odame Agyei

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 12:08, 26 January 2007 (UTC)
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title: User talk:Frank Odame Agyei


text:
User talk:Roberth Edberg

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 12:07, 26 January 2007 (UTC)
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title: User talk:Roberth Edberg


text:
User talk:165.139.0.11

Wikiquote exists for the collecting of notable quotations of famous people and famous works. When people are not interested in responsibly contributing to the development of the project incidents of their deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 15:20, 26 January 2007 (UTC)

title: User talk:165.139.0.11


text:
User:Amakuha

My Wikipedia page

title: User:Amakuha


text:
Wikiquote:Votes for deletion archive/Urban decay

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: no consensus. —LrdChaos (talk) 15:44, 26 January 2007 (UTC)

Urban decay
It's unclear to me how, if at all, these quotes relate to the theme of urban decay either generally, or to the specific case of New York City in the 1970s. The "FORD TO CITY: DROP DEAD" headline is from when then-President Gerald Ford said he'd veto a federal measure to bail out the city. Cosell's quote doesn't really seem to apply to the larger theme, and although Wikipedia does say "Historians of New York City frequently point to Cosell's remark as a sign of both the city and the borough's descent into anarchy during times of widespread vice," I don't believe that the quote can, even with some explanation, sufficiently and obviously represent urban decay (especially since the phrase, as originally used, applied to series of arsons in the '60s and '70s, which were but a symptom of the large urban decay in NYC). The quote from the BBC special (named for the quote), doesn't really apply to urban decay either. Again, it's highly specific to New York City, and also to the fire department coverage of certain areas of the city, and lacks any direct and obvious connection to urban decay (it might represent the city's view of the Bronx at that point in time, and the Bronx may have been in a state of urban decay, but I find this far too indirect). —LrdChaos (talk) 14:38, 12 January 2007 (UTC)

 * Vote closes. Result: no consensus. —LrdChaos (talk) 15:24, 26 January 2007 (UTC)

 * Delete. —LrdChaos (talk) 14:38, 12 January 2007 (UTC)

 * Move to New York — possibly to a new section. --Ubiquity 17:42, 12 January 2007 (UTC)
 * Not all of the quotes are about New York City. Futurebird 07:14, 20 January 2007 (UTC)

 * Keep. - I think it is clear that it needs to be expanded. But we should keep it, reductions in city funding were a direct cause of urban decay in north east cities. It works well with the wikipedia articles on this subject too.Mathteach 17:45, 12 January 2007 (UTC)

 * Keep. There are plenty of quotes to add that may not pertain to NYC. The page needs time to develop. This request came only a day after it was created giving those who are working on this project little or no time to flesh it out.Futurebird 23:47, 12 January 2007 (UTC)
 * Comment. I have expanded the content to inculde other cities. Futurebird 19:15, 14 January 2007 (UTC)
 * Even with the changes, I still think the page should be deleted as the quotes don't really apply to the theme of "urban decay". The Keats quote appears to be more about urban/suburban sprawl, the anonymous poem is more about the sad state of public housing (which could be connected to urban decay but only very indirectly), I'm not sure what the Genet quote is about, but it's not urban decay, and the King quote applies much more to poverty or to repressed groups, which are the sort of thing you find in an "urban decay" environment, but again is only related extremely indirectly to the theme. —LrdChaos (talk) 21:21, 14 January 2007 (UTC)
 * Please give it time to develop. If you think it could be improved by removing some items why not bring that up on the talk page? Talk:Urban decay Futurebird 17:55, 16 January 2007 (UTC)
 * I didn't (and don't) bring it up on the talk page because I don't think that any of the quotes really apply, and so they should all be removed, leaving the page empty. In that case, it's better suited to this VFD. If the page is kept, I'll mention my thoughts over there. —LrdChaos (talk) 19:42, 16 January 2007 (UTC)
 * I just found a GREAT quote that no one can dispute belonging on this I'm more tha willing to revise this page! I think it'd be a shame to delete it so quickly. It will grow and improve with time. Please give it a chance.Futurebird 07:14, 20 January 2007 (UTC)
 * Delete, concur with LrdChaos - equating these quotes with symptoms of urban decay is a bit of a stretch. ~ UDScott 19:45, 16 January 2007 (UTC)
 * Delete. This article still isn't focused. - InvisibleSun 08:26, 17 January 2007 (UTC)
 * Neutral . I am in complete agreement with LrdChaos and UDScott about the lack of focus. More specifically, the concept lends itself to extreme broadening, but limiting quotes to those including the exact phrase seems too specific, making it hard to define the limits of this article. On the other hand, there should be something to collect quotes on this hot topic. Voting to delete removes a potentially useful article, but voting to keep encourages sloppy quote collection. (At least the quotes are mostly sourced.) I'm thinking we may have to tackle this as a content issue until we get a better feel for where it might go. ~ Jeff Q (talk) 11:03, 17 January 2007 (UTC)
 * Weak keep. This article presents a serious problem for Wikiquote. Allowing theme articles that don't have very strictly defined limits opens a Pandora's box that we don't have the editing staff to handle. Currently, inclusion in this article requires editors to interpret quotes, when we usually stick to quotes that include the phrase to avoid this very kind of contentious interpretation. But I hate to delete useful, sourced quotes, and I'm concerned that the current alternatives haven't been sufficiently explored yet. I'm also afraid that I don't have the time I feel is necessary to ponder how to reasonably distribute all these quotes to other articles and/or how best to establish useful limits. I reluctantly conclude that this article should be given substantial time (at least a few months) to see if our current community can resolve these problems, rather than simply delete the material. But I would resist attempts to use this article as an excuse to broaden other articles or create similar ill-defined articles. ~ Jeff Q (talk) 13:15, 26 January 2007 (UTC)
 * Comment: I took the liberty of extending the deadline another week as the article seems to be under active development and it's worth giving it a bit more of a chance to be edited into a more useful state as per Jeffq. I did put a theme-cleanup on it as it needs some work to meet our formatting standards.  121a0012 15:14, 20 January 2007 (UTC)
 * Delete. Good intentions, but the subject needs to be thought through more carefully and more specific. At the moment it is vast. As pointed out above several of the quotes are inappropriate, forced or tangential. Focused subjects such as "19th century London slums" or "NYC inner city" (not a very good one but it gives the idea) would collect quotes that had greater relevance to each other, rather than encouraging a complete jumble from too big a remit. The title also assumes a position, and a more neutral one would allow different viewpoint to be set against each other. Tyrenius 16:42, 21 January 2007 (UTC)
 * I think we could split it latter. As the collections grows this will become an issue. There are universals in all of these things though. Futurebird 01:17, 23 January 2007 (UTC)
 * Keep I think that Urban decay is a focuses enough topic for a quote page. It is a pretty well researched area, has an connected article on wikipedia, the quotes are notable, etc. Koweja 04:41, 22 January 2007 (UTC)
 * Difficult one. The subject is notable and many of the quotes are good material, but they don't quite match with the title. I would like to keep them and put them in New York City but it would not be appropriate to have a full merge and redirect because urban decay can happen in any city. Would it be appropriate, as with transwiki'd material, to add a note to Talk:New York City identifying the editors who wrote this page, then to delete it? Fys. “Ta fys aym”. 11:20, 24 January 2007 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
User:Rskellner

I am Dr. Robert Scott Kellner, the grandson of Friedrich Kellner and the translator of his WWII diary. The diary has been exhibited in museums in America and Germany, and a Canadian documentary film has been made about the life of Friedrich Kellner, entitled "My Opposition: the Diaries of Friedrich Kellner." There are a number of Wikipedia articles (in several languages) about the diary. I would appreciate any advice or help in improving the Wikipedia pages about Friedrich Kellner. Please feel free to send me an email by using the Wiki e-mail link.Thank you. Scott (College Station, Texas) --Rskellner 17:44, 26 January 2007 (UTC)

title: User:Rskellner


text:
User talk:163.150.245.114

Wikiquote exists for the collecting of notable quotations of famous people and famous works. When people are not interested in responsibly contributing to the development of the project incidents of their deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 17:50, 26 January 2007 (UTC)

title: User talk:163.150.245.114


text:
Absolute Power (comedy)

Absolute Power (2000–2006) is a British comedy series, set in the offices of Prentiss McCabe, a fictional public relations company in London, run by Charles Prentiss (Stephen Fry) and Martin McCabe (John Bird). Its name is taken from a quote by the historian Lord Acton that "power tends to corrupt, and absolute power corrupts absolutely".

The series began on radio, then transferred to television.

Episode One: Conservative Party

 * Charles: (to his bank manager) How far will you extend my overdraft, for the exclusive, unrestrained, or possibly restrained, use of my body?

 * Charles: You were going to spend your redundancy money on a pub.
 * Martin: No, no, no. I was going to spend my redundancy money in a pub.

Episode Two: Relaunch of The Sun

 * Editor of The Sun: I am a plain man.
 * Charles: Yes, yes, you really are, aren't you?
 * Editor: I like bums on seats.
 * Charles: I rather like them on bicycles.

 * Charles: You have that talent peculiar to the mediocre, of stating the obvious in a way that brings out the genius in a genius.

Episode Three: Mayor of London

 * Martin: Ah, America, America, Land of the Arse.
 * Charles: I do so very beg your pardon?
 * Martin: It's true. They've all got them. Great big enormous ones. It's because they drink Coca Cola out of dustbins.

 * Charles: (reading) "Congratulations, as usual. Appreciate what a difficult assignment this was, and have doubled your fee. Please eat this e-mail."

Episode Four: The Church of England

 * Bishop of Bath and Wells: I want you chaps to do what I believe you call a "product relaunch".
 * Charles: You want us to relaunch God?

 Has the Church gone off-message?
 * Archie: The Prime Minister was returning from a speaking engagement in the North last night, when he was confronted by a billboard. An enormous billboard, saying: "Don't make me come down there! – God"

Episode Five: Radio 3
Writing a report on the future of Radio 3
 * Martin: (reading aloud while typing) "So, in conclusion," erm...
 * Charles: Martin, it's no good typing "so, in conclusion" at the bottom of a blank screen.

 * Charles: Cuff O, backwards.

Episode Six: English Sporting Success

 * Controller of BBC 1: To a public service broadcaster, ratings are like sex: when you're getting plenty, they don't matter; when you're not getting any, they matter lots.

Episode One: Martin is Bored

 * Charles: Labour has just lost one of its safest seats.
 * Martin: How interesting(!)
 * Charles: Do I have to explain to you the significance of that?
 * Martin: You don't have to, Charles, no. Mind you, it might relieve the tedium, if the explanation involved pulling your trousers down and doing your impression of a swingometer.

 * Charles: Do you happen to remember writing: "Dear Sirs, the reason I have not replied to your letters of the 26th and the 30th is that I couldn't be arsed. Yours in sport, Martin"?
 * Martin: Well, I may possibly have done. Why?
 * Charles: Well, because you e-mailed it to the Inland Revenue, who have written back in distressed tones.

 * Charles: I shall never forget that night I took you to Gordon Ramsay's. What was it you said? "If that bow-tied ponce serves me the squid ink, I will put it in a squid pen and write squid bollocks".

Episode Two: Promoting Philosophy

 * Sandy: We might have clients coming.
 * Martin: Well, as God once remarked to the people of Gomorrah: sod 'em.

 * Gayle: Now you're beginning to speak my language!
 * Charles: Oh, I'm not a beginner. I've always been fluent in Dirty Bastard.

Episode Three: Relaunching a Literary Career
Lunching a client with undisguised contempt
 * Martin: The salad of strawberry and feta cheese, please, and the chicken.
 * Charles: Smoked salmon and the confit of duck, I think.
 * Waiter: And for you, sir?
 * Ralph Parsons: Er, I'll have...
 * Charles: (interrupts quickly) An omelette!
 * Ralph: Oh.
 * Charles: And a bottle of Saint-Émilion. And a glass of Vimto for that.

Episode Four: The Elderly Initiative
Operation Shaft the Chancellor
 * Charles: Where are you going?
 * Martin: I'm going to my club for a glass of claret.
 * Charles: But there's work to do!
 * Martin: My dear Charles, even a first-class mind requires lubrication before shafting.

 The morning after Charles' breakdown
 * Martin: If he should come in, show him some TCP.
 * Sandy: TLC, Mr McCabe.

 * Charles: If there's one thing better than having a first-class mind, it's being a first-class bastard.

Episode Five: Prison Reform

 * Martin: I want my morning claret. The sun is over the yardarm. If it isn't, I'll get a new yardarm.

Episode Six: Gayle Shand
Charles seems remarkably insouciant about the riot in Brixton prison
 * Martin: They've taken two Labour MPs hostage!
 * Charles: The Prime Minister's got hundreds of Labour MPs!

Episode One: Poking the PM

 * Editor of the Daily Telegraph: We're thought to be out of touch with the...what do you call it?
 * Martin: Zeitgeist?
 * Editor: We don't use German in the Telegraph, Martin.

 * Archie: Charles, this is the most secret secret in the history of secret secret secrets. It is for your eyes only, with your eyes closed.

 * Charles: E-mail Clive: "see me to be sacked".

Episode Two: Health Service

 * Archie: Are you sure this is safe?
 * Charles: Of course this is safe! This is a dinner to celebrate outstanding achievement by British tennis players. There's nobody here at all!

 With the threat of a general strike looming, Martin reviews Clive's work on the healthy eating campaign
 * Martin: I'm not sure how the Advertising Standards Authority will react to a fat naked man looking forlornly down, with a caption saying: "Can you see my point? Because I can't."
 * Clive: You did suggest a sexual theme.
 * Martin: Yes...Clive, you don't feel like going on strike now, do you?

Episode Three: Big Brother
Toggle wants a career in show business on the basis of no talent whatsoever
 * Charles: No, I'm sorry but Prentiss-McCabe has not sunk as low as that!
 * Toggle: I've been offered a quarter of a million to talk about my experiences.
 * Charles: How low would you like me to sink, exactly?

 * Charles: Morris, there are great men and men of weight, and waiters who get to clean the grate. Go and clean the grate, Morris!
 * Maurice: Oui, Monsieur.
 * Martin: Ah, that's more like it. You're much more fun when you're a complete bastard.

Episode Four: A Tennis Star
After a trip abroad, Charles has given Archie a present: a pink luminous Leaning Tower of Pisa ashtray
 * Charles: Well, I thought to myself, "What can I get for a Labour spin doctor?" And then I realised: a large piece of meretricious tat. Something eye-catching, but worthless.

 Clive has nearly reached the end of his probationary period
 * Martin: Doesn't time fly when you're cocking things up?
 * Clive: It has been something of a learning curve.
 * Martin: A learning curve. Ah yes, you don't feel it's been more of an arrow pointing downwards, do you?

Episode Five: Men

 * Charles: Martin, when a potential new client comes to this office, you do not stand behind him with a sign saying "Loony Warning".

 * Martin: Somebody did ring. I got all the way to the phone. Then I suddenly realised I couldn't be arsed.

Episode One: History Man

 * Charles: Nigel, are you familiar with your arse? Because your wife has just saved it. Now get us a drink.

Episode Two: Pope Idol

 * Charles: Well, if you want loyalty, buy a dog.

 * Alison Jackman: Do you have any ethics at all?.
 * Charles: Now there's a theological question.
 * Alison: Surely one agency can’t possibly represent two people going for the same job. There must be rules about this sort of thing. Like, I don’t know, estate agents not acting for buyer and seller.
 * Charles: Not only can you represent the buyer and the seller, but you can steal all the light bulbs, pee in the sink and then go and live in the house after they’ve bought it. PR means never having to say you’re wrong. But…at the risk of sounding like your Uncle Albert, this is our little secret, alright?

 * Julia Stour (editor of the Daily News): It's a tabloid; three words is virtually War and Peace.

Episode Three: Tory Woman

 * Charles: [Referring to a name on adultery suspect list] She's been dead for five years.
 * Alison: I thought she went to live in Portugal.
 * Charles: A not dissimilar experience.

Episode Four: Mr Fox

 * Charles: I think this calls for the Ethiopian strategy.
 * Martin: Which is?
 * Charles: If you're hungry, go on television and appeal.

 * Martin:  A sound gun on a windy night fails to distinguish between two words that fall similarly on the ear. Could it be that the minister is in fact saying, "What's a boy to do to get a fox round here?"

Episode Five: Country Life

 * Lord Harcourt: Now, one of you I've met before, and the other one has the brains. Which is which? [to Charles] I think you must be Jimmy.
 * Charles: Er, Charles, sir. A bit like Jimmy, but all the letters are different.
 * Lord Harcourt: What? You'll have to speak up; I've got aids in both ears.
 * Charles: I said...you've got what?!

 * Charles: Martin, you made this bed. Prepare to eat it!

Episode One: The BBC

 * Charles: There's nothing even Prentiss-McCabe can teach this Prime Minister about deception. Except how to do it properly, I suppose.

 * Martin: Charles, does it occur to you that Archie must have been promoted?
 * Charles: What?
 * Martin: Well, somebody must have replaced their media supremo, whatever his name was...Alas-it's-a Shambles.

Episode Two: The Notion of Nation
Clive has been commissioned to give some tabloid appeal to the annual University Boat Race
 * Charles: Clive, what in the name of aquatic insanity possessed you to introduce a shoal of piranha between Putney and Mortlake?!

 Martin is bored with signing copies of his book
 * Publisher: The thing is: you haven't signed all of them in your own name. A woman came up to me last night. She'd wanted you to sign a copy for her sister, and you'd written: "Yours in sport, the Dalai Lama". And then there was that poor woman in Yeovil, the one whose book you signed: "All the best, Buffy the Vampire Slayer".

Episode Three: Healthy Eating
Apparently, the Prime Minister is a fitness fanatic
 * Archie: He's got his own gym in Number 10. He's always up there.
 * Charles: Except when he's clutching his chest and falling over.

 Clive has been left in charge of the healthy eating campaign
 * Archie: What's this?
 * Clive: Well, there is a term of abuse which is sometimes applied to a person who's overweight.
 * Archie: I'm familiar with the term. I've just never seen one made out of actual lard before.

Episode Four: US Presidential Campaign

 * Alexandra: It is imperative that the President is re-elected. The future of the free world depends upon it.
 * Charles: (scornfully) No, it doesn't!
 * Alexandra: OK, my job depends upon it.

 * Charles: You know, it's one of the great regrets of my life that I was too young for Watergate.
 * Archie: Watergate was a monumental cock-up, Charles.
 * Charles: Only because I wasn't there.

Episode One: The Nation's Favourite

 * Charles: Lionel Blackmore could start a punch-up in a room full of nuns.

Episode Two: The Trial

 * Martin: Charles, Helena is costing us precisely ₤535.68 an hour before VAT. I think the least we can do is to pay attention!
 * Charles: Oh, I'm sorry, Helena. I didn't realise QCs needed people to listen in order for them to talk.

 * Charles: [To Alison] Look, if you’re going to speak too, you’re going to make this take a lot longer.

Episode Three: Blood Bank

 * Charles: Humour, where would we be without it? In Germany, probably.

 * Charles: At Prentiss-McCabe we care deeply about the little people. Unless they get in our way; then we hurt them.

Episode Four: Identity Crisis

 * What sort of character would oppose the introduction of ID cards?
 * Jamie: Mustapha Allawallah, suicide bomber.
 * Nick: Fingers Ratner, housebreaker.
 * Jamie: Seamus O'Anus, Irish terrorist.
 * Cat: Uncle Fumble, paedophile.
 * Jamie: Johnny Junk-Bum, drug smuggler.
 * Alison: Mr Asylum Seeker. The asylum seeker.
 * Charles: Yes, we might want to brainstorm that name a bit.

 * Charles: Television is not for watching; it's for being on.

Episode Five: Spinning America

 * Charles: It'd be so much easier if politics were like software: they could just call it Bollocks 1, Bollocks 1.1, Bollocks XP Home Edition...

 * Charles: I love the smell of a career burning in the morning.

Episode Six: The House of Lords

 * Charles: Besides, Priestley’s new office is so far away from the centre of power that if Number Ten got nuked, he’d merely looked tanned.

 * Charles: [To job applicant] Well, thank you for coming in and being so time-consuming.

Cast

 * Stephen Fry - Charles Prentiss
 * John Bird - Martin McCabe

title: Absolute Power (comedy)


text:
Automation

Automation is the use of control systems such as computers to operate industrial machinery and perform processes, replacing human operators. In the scope of industrialization, it is a step beyond mechanization. Whereas mechanization provides human operators with machinery to assist them with the physical requirements of work, automation greatly reduces the need for human sensory and mental requirements as well.

Quotes

 * Anything that can be automatically done for you can be automatically done to you.
 * Wyland's Law of Automation
 * Quoted by

 * Besides black art, there is nothing left in the United States but automation and mechanization.
 * Federico García Lorca, Poet in New York

 * As the bourgeoisie, by means of its capital, completely monopolizes all new inventions, every new machine, instead of shortening the hours of labor and enhancing the prosperity and happiness of all, causes, on the contrary, dismissal from employment for some, reduction of wages for others and an increased and intensified state of misery for the entire proletariat.
 * Johann Most, The Beast of Property (1884)

 * Where you have machines, then you get certain kinds of problems; where you get certain kinds of problems, then you find a heart warped by these problems. Where you get a heart warped, its purity and simplicity are disturbed. When purity and simplicity are disturbed, then the spirit is alarmed and an alarmed spirit is no place for the Tao to dwell. It isn't that I don't know of these machines, but I would be ashamed to use one.
 * Zhuangzi, The Book of Chuang Tzu, as translated by M. Palmer, et. al. (Penguin: 1996), p. 99

 * If every instrument could accomplish its own work, obeying or anticipating the will of others, [...]; if, in like manner, the shuttle would weave and the plectrum touch the lyre without a hand to guide them, chief workmen would not want servants, nor masters slaves.
 * Aristotle, Politics, Book I, part 4 (1920 translation by Benjamin Jowett)
 * Popularly simplified to "when the looms spin by themselves, we'll have no need for slaves".

title: Automation


text:
User:Sir Isaac

My name is Randy Kirk.

title: User:Sir Isaac


text:
Paladin

The Paladins (or Twelve Peers) are twelve fictional knights of legend, the foremost members of Charlemagne's court in the 8th century. They first appear in the medieval (12th century) chanson de geste cycle of the Matter of France, where they play a similar role to the Knights of the Round Table in Arthurian romance.

During the 19th and early 20th centuries the term was reused outside fiction for small numbers of close military confidants serving national leaders. Modern depictions of paladins are often an individual knight-errant holy warrior or combat healer, influenced by the paladin character class that appeared in Dungeons & Dragons in 1975.

Quotes

 * The way of the Paladin is to seek to know that which truly is. The Paladin strives to learn his own inner nature and that of others. The Paladin does whatever needs to be done to bring light to the world. Not for glory, not for gain, the Paladin Becomes a Paladin because it is his Will.
 * Rakeesh Sah Tarna, Quest for Glory II

 * Miko: A paladin never compromises. Roy: Does a paladin ever remove the stick from their ass? Miko: No. It's a class feature.
 * The Order of the Stick

 * I, Miko Miyazaki, Paladin of the Sapphire Guard, have come to vanquish you this morning. Rouse yourself from your half-asleep stupor and prepare yourself for battle. In the interest of a fair and proper fight, I demand you be fully awake before we attack. Don't forget to retrieve your weapons from their resting places. You have not eaten your morning meal yet. It would be dishonorable to fight a foe who has not had the chance to load up on carbs.
 * Miko Miyazaki, The Order of the Stick

 * Blade with whom I have lived, blade with whom I now die, serve right and justice one last time, seek one last heart of evil, still one last life of pain, cut well old friend, and then farewell.
 * Sir Orin Neville Smythe, Flight of the Dragons

 * Remember always that in the end, you may find truth within yourself, not from without. That is what we have learned about the Inner Light.
 * Alexander Candelori, CLOK

 * A knight is sworn to valour. His heart knows only virtue.  His blade defends the helpless.  His might upholds the weak.  His word speaks only truth.  His wrath undoes the wicked.
 * Dragonheart - The Old Code

 * Remember, Arthas, we are paladins. Vengeance cannot be a part of what we must do.
 * Uther the Lightbringer

 * Warriors of light are not perfect.Their beauty lies in accepting this fact and still desiring to grow and to learn.
 * Paulo Coelho - Manual of the Warrior of the Light

title: Paladin


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User talk:Flameviper~enwikiquote

Welcome
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Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

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title: User talk:Flameviper~enwikiquote


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User:Flameviper~enwikiquote

Hello. I'm the Wikipedia user known as Flameviper. I may never use this account again, but it was reccomended that I register this account as a preventative measure.

Note
As I said before, I will most likely never return to this account to check on it. As thus, I reccomend contacting me through my Wikipedia talk page because any messages left for me here will most likely never be recieved. Thank you.

title: User:Flameviper~enwikiquote


text:
Talk:Castlevania: Symphony of the Night

DIE MONSTER! You don't belong in this world!

Ahh... made my night to remember this.

title: Talk:Castlevania: Symphony of the Night


text:
User talk:81.157.242.120

- InvisibleSun 05:09, 27 January 2007 (UTC)

title: User talk:81.157.242.120


text:
User talk:Amakuha

Hi. Welcome to English Wikiquote. Enjoy!--Aphaia 07:55, 27 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
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title: User talk:Amakuha


text:
Marc Chagall

Marc Chagall (July 7 1887 – 28 March 1985) was a Russian-Jewish painter who was born in Belarus, then part of the Russian Empire. He worked in Paris from 1910 till 1914, and after his Russian years (1914–1922) he returned to Paris. Among the celebrated painters of the 20th century, he is associated with the modern movements after Impressionism, but found the motifs of his painting in his religious Russian background.

1910s

 * I am working in Paris. I cannot for a single day get the thought out of my head that there probably exists something essential, some immutable reality, and now that I have lost everything else (thank God, it gets lost all on its own) I am trying to preserve this and, what is more, not to be content. In a word: I am working.
 * Chagall's letter to A. N. Benois, 1911, as cited in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 146

 * For me, Christ has always symbolized the true type of the Jewish martyr. That is how I understood him in 1908 when I used this figure for the first time.. .It was under the influence of the pogroms. Then I painted and drew him in pictures about ghettos, surrounded by Jewish troubles, by Jewish mothers, running terrified with little children in their arms.
 * From Rebel to Rabbi: Reclaiming Jesus and the Making of Modern Jewish Culture, Matthew B. Hoffman; Stanford University Press, 2007, p. 218
 * Chagall started in 1912 (in Paris) to paint his 'Golgotha' and later more Crucifixions. In this (later! quote) Chagall looks back on this question.

 * If Russian painters were condemned to become the pupils of the West they were, I think, rather unfaithful ones by their very nature. The best Russian realist conflicts with the realism of Courbet. The most authentic Russian Impressionism leaves on perplexed if one compares it with Monet and Pissaro. Here, in the Louvre, before the canvases of Manet, Millet and others, I understood why my alliance with Russia and Russian art did not take root. Why my language itself is foreign to them. Why people do not place confidence in me. Why the artistic circles fail to recognize me. Why in Russia I am entirely useless.. .In Paris, it seemed to me that I was discovering everything, above all a mastery of technique..  .It was not in technique alone that I sought the meaning of art then. It was as if the gods had stood before me..  .I had the impression that we are still only roaming on the surface of matter, that we are afraid to plunge into chaos, to shatter and overthrow beneath our feet the familiar surface. (reaction on his first arrival in Paris, 1910)
 * Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 262, (translation Daphne Woodward)

 * In response I am sending you some pictures which I painted in Paris out of homesickness for Russia. They are not very typical of me; I have selected the most modest ones for the Russian exhibition.
 * letter to Mstislav V. Dobushinsky, = A. N. Benois, 1912; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 147

 * My works are dear to me, each in its own way, I shall have to answer for them on the Day off Judgement. God alone knows whether I shall ever see them again. Quite apart from the money which I was going to receive for their sale there (exhibition in Gallery Der Sturm, Berlin June-July, 1914) and it is no small sum..
 * letter to A. N. Benois, 1914, on his return to Russia; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 147

 * The sun has only ever shone for me in France (it certainly did that!). I have got used to beating the streets of Paris, happy beyond words dreaming of a life 125 years long - with the Louvre radiant in the distance. (Chagall couldn't go back to Paris because of the outbreak of the first World War in 1914). Having ended up in the Russian provinces, << I have decided to die >>.
 * letter to Sergei K. Markovsky, 1915; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 149
 * ..But it doesn't frighten me, because I studied in France, thank God, and I know of no artist in history who was not 'literary' when it came down to it. Not a single one. And even if they don't appear to be, I know of none and you at least don't recall them, because there is nothing to recall.. .Sometime or other I'd like to see a < > artist, but I didn't even find one in France. Obviously the trouble is that one approaches painting from the other side, so that the word < > conceals the point of the thing. Yet even the most beautiful and < > sujet (an apple, a grape or any << non-figurative painting >>) doesn't help if there are no foundations, either innate or acquired through hard work..  .Why don't we say clearly: << That is freedom, and this is commitment to the subject >> and << to each tree its berries >>, but let it be a tree and not a donkey..
 * letter to A. N. Benois, 1918; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 150

 * Or is all this fuss actually important for < >? Oh, no, never. If things only ever originated as a result of such competition (between subject- and subjectless art), it wouldn't be worth living among them, like an accidental, capricious toy. Clearly there is a greater, a more serene and more modest power, but we are either too lazy to live by its laws, or we have no time, or it "hurts too much".
 * letter to A. N. Benois, 1918; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 150

1920s

 * At present there is an extremely exaggerated formation of groups (students on the School of Art in Vitebsk) around 'trend'; there are 1. young people following Malevich and 2. young people following me. We both belong to the left-wing artistic movement, although we have different ideas about ends and means. Obviously it would take too long to talk about this problem now.. .But there is one thing I will tell you: Although I was born in Russia - and what is more: in the "settlement territory"  – I was trained abroad and am all the more sensitive to everything that is taking place here in the field of art (the fine arts). The memory of the splendour of the original is much to painful for me..[to live – crossed out]
 * letter to Pavel Davidovitch Ettering, 2 April, 1920, as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 73

 * Now at least 'artists have the upper hand' in the town (Vitebsk). They get totally engrossed in their disputes about art (between constructivists and suprematists), I am utterly exhausted and 'dream' of 'abroad'.. .After all, there is no more suitable place for artists to be (for me, at least) than at the easel, and I dream of being able to devote myself exclusively to my pictures. Of course, little by little one paints something, but it's not the real thing. (Chagall was director of the Art School of Vitebsk, including many conflicts)
 * letter to Pavel Davidovitch Ettering, 2 April, 1920, as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 74

 * After completing my work [his murals for the Jewish Theater in Moscow) I thought, as has been agreed, that it would be shown in public as a series of my latest things. The management will agree with me that I can find no inner peace as a painter until the 'masses' see my work etc. It turned out that the things [the murals] had been put into a 'cage', as it were, where they can be seen at the very best by (if you will forgive me for saying so) Jews at close quarters. I like the Jews a lot (there's enough 'proof' of that) but I like the Russians as well and some other nationalities, and I am used to painting serious things for many 'nationalities'.
 * In a letter to the management of the State Jewish Kamerny Theater, 1921, as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 89

 * I set to work. I pointed a mural for the main wall: Introduction to the New National Theatre. The other interior walls, the ceiling and the friezes depicted the forerunners of the contemporary actor – a popular musician, a wedding jester, a good woman dancing, a copyist of the Torah, the first poet dreamer, and finally a modern couple flying over the stage. The friezes were decorated with dishes and food, beigels and fruits spread out on well-laid tables. I looked forward to meeting the actors who passed me: 'Let us agree. Let's join forces and throw out all this old rubbish. Let's work a miracle!' (c. 1921)
 * 'Chagall in the Yiddish Theater', Avram Kampf, as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 101

 * In exasperation, I furiously attacked the floors and walls of the Moscow Theater. My mural paintings sight there, in obscurity. Have you seen them? Rant and rave, my contemporaries! In one way or another, my first theatrical alphabet gave you a belly-ache. Not modest? I'll leave that to my grandmother: it bores me. Despise me, if you like. (ca. 1921)
 * 'Chagall in the Yiddish Theater', Avram Kampf, as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 94

 * The stars were my best friends. The air was full of legends and phantoms, full of mythical and fair-tale creatures, which suddenly flew away over the roof, so that one was at one with the firmament.
 * Chagall's early work in the Soviet Union, Alexander Kamensky; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 41

 * If I weren't a Jew (in the sense in which I use the word) then I wouldn't be an artist, or at least not the one I am now.
 * Bletlach (Leaflet - essay in Yiddish), Marc Chagall; published in 'Shtrom' No. 1, 1922

 * The Jews might well, were they of such a mind (as I am, lament the disappearance of all those who painted the wooden synagogues in the small towns and villages (oh why haven't I gone to my grave with them!), and the carvers of the wooden 'school mallets' – 'quiet boy!' (and if you should see them in Ansky's collection, you’ll get a shock!). But is there really any difference between my ancestor from Mohiliev, who painted the synagogue there, and myself, who painted the Jewish theater in Moscow (and a good theater it is at that)?.. .I am convinced that, were I to stop shaving, you would see in me a deceptive likeness.
 * Bletlach (Leaflet - essay in Yiddish), Marc Chagall; published in 'Shtrom' No. 1, 1922

 * Back in the days (a later reflection on his early Parish years) when I was in Paris in my studio in 'La Ruche', through the partition I heard two Jewish emigrants arguing: 'Well, what would you say? Wasn't Antokolsky a Jewish artist? And Israels? And what about Liebermann?' The dim light of the lamp lit up my picture, which was upside down (that's the way I work – so consider yourself yourselves lucky!). As morning came, and the Parisian sky started to brighten up, I had to laugh about the futile comments of my neighbours on the fate of Jewish art: 'You two wind-backs can carry on – but I've got work to do'.
 * Bletlach (Leaflet - essay in Yiddish), Marc Chagall; published in 'Shtrom' No. 1, 1922

 * If I weren't a Jew (in the sense in which I use the word) then I wouldn't be an artist, or at least not the one I am now.
 * Bletlach (Leaflet - essay in Yiddish), Marc Chagall; published in 'Shtrom' No. 1, 1922

My Life (1922)

 * My Life, Marc Chagall - written in Moscow in 1921–1922

 * 'There you are', said Efros [Granovsky, director of the State Jewish Chamber Theater, in 1920], leading me into a dark room, 'These walls are all yours, you can do what you like with them'. It was a completely demolished apartment that had been abandoned by bourgeois refugees. 'You see', he continued, 'the benches for the audience will be here; the stage there'. To tell the truth, all I could see there was the remains of a kitchen.. .And I flung myself at the walls. The canvases were stretched out on the floor. Workmen, actors walked over them. The rooms and corridors were in the process of being repaired; piles of shavings lay among my tubes of paint, my sketches. At every step one dislodged cigarette-ends, crusts of bread.
 * Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 38

 * Only the great distance that separates Paris from my native town prevented me from going back.. .It was the Louvre that put end to all these hesitations. When I walked around the circular Veronese room and the rooms that the works of Manet, Delacroix and Courbet are in, I desired nothing more. In my imagination Russia [where Chagall was born] took the form of a basket suspended from a parachute. The deflated pear of the balloon was hanging down, growing cold and descending slowly in the course of the years. This was how Russian art appeared to me, or something of the sort..  .It was as if Russian art had been fatally condemned to remain in the wake of the West. (a later quote on his first arrival in Paris, 1910)
 * Letters of the great artists – from Blake to Pollock -, Richard Friedenthal, Thames and Hudson, London, 1963, p. 261, (translation Daphne Woodward)

 * ..No academy could have given me all I discovered by getting my teeth into the exhibitions, the shop windows, and the museums of Paris. Beginning with the market – where, for lack of money, I bought only a piece of a long cucumber – the workman in his blue overall, the most ardent followers of Cubism, everything showed a definite feeling for proportion, clarity, an accurate sense of form, of a more painterly kind of painting, even in the canvases of second-rate artists.
 * Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 29

 * My grandfather, a teacher of religion, could think of nothing better than to place my father – his eldest son, still a child – as a clerk with a firm of herring wholesalers, and his youngest son with a barber. No, my father was not a clerk, but, for thirty-two years, a plain workman [in the Jewish ghetto of Vitebsk ]. He lifted heavy barrels, and my heart used to twist like a Turkish pretzel as I watched him carrying those loads and stirring the little herrings with his frozen hands.. .Sometimes my father's clothes would glisten with herring brine. The light played above him, besides him. But his face, now yellow, now clear, would sometimes break into a wan smile.
 * Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 23

 * Listen what happened to me when I was in the fifth form (ca. 1904), in the drawing lesson. An old-timer in the front row, the one who pinched me the most often, suddenly showed me a sketch on tissue paper, copied from the magazine "Niva": The Smoker. In this pandemonium! Leave me alone. I don't remember very well but this drawing, done not by me but by that fathead, immediately threw me into a rage. It roused a hyena in me. I ran to the library, grabbed that big volume of "Niva" and began to copy the portrait of the composer Rubinstein, fascinated by his crow's-feet and his wrinkles, or by a Greek woman and other illustrations; maybe I improvised some too, I hung them all up in my bedroom..
 * Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, pp. 24-25

 * Two or three o'clock in the morning. The sky is blue. Dawn is breaking. Down there, a little way off, they slaughtered cattle, cows bellowed, and I painted them. I used to sit up like that all night long. It's already a week since the studio was cleaned out. Frames, eggshells, empty two-sou soup tins lie about higgledy-piggledy.. .On the shelves, reproductions of El Greco and Cézanne lay next tot the remains of a herring I had cut in two, the head for the first day, the tail for the next, and Thank God, a few crusts of bread.
 * Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, pp. 29-30
 * Chagall describes a morning in his studio in Paris, c. 1911, in 'La Ruche' an old factory where many artists as Soutine, Archipenko, Léger and Modigliani had their studio

 * It's only my town (Chagall was born in Vitebsk), mine, which I have rediscovered. I come back to it with emotion. It was at that time that I painted my Vitebsk series of 1914. (Chagall couldn't go back to Paris because of the outbreak of the first World War in 1914) I painted everything that met my eyes. I painted at my window; I never walked down the street without my box of paint.
 * Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 31
 * * But my knowledge of Marxism was limited to knowing that Marx was a Jew, and that he had a long white beard. I said to Lunatcharsky [the political communist commissar for Education, ca. 1918] 'Whatever you do, don't ask me why I painted in blue or green, and why you can see a calf inside the cow's belly, etc. On the other hand you're welcome: if Marx is so wise, let him come back to life and explain it himself'. I showed him my canvases.
 * Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 34

after 1930

 * ..In spite of everything, there is still no more wonderful vocation than to continue to tolerate events and to work on in the name of our mission, in the name of that spirit which lives on in our teaching and in our vision of humanity and art, the spirit which can lead us Jews down the true and just path. But along the way, peoples will spill our blood, and that of others.
 * In the last lines of his lecture at the Congress of the Jewish Scientific Institute Vilnius, in 1935, as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 58

 * The Jews might well, were they of such a mind (as I am, lament the disappearance of all those who painted the wooden synagogues in the small towns and villages - oh why haven't I gone to my grave with them!), and the carvers of the wooden 'school mallets' – 'quiet boy!' (and if you should see them in Ansky’s collection, you’ll get a shock!). But is there really any difference between my ancestor from Mohiliev, who painted the synagogue there, and myself, who painted the Jewish theatre in Moscow (and a good theater it is at that)?.. .I am convinced that, were I to stop shaving, you would see in me a deceptive likeness.
 * In: 'Shtrom' No. 1, 1922, Marc Chagall; as quoted in 'Chagall and the Jewish art programme', by Grigory Kasovsky
 * Chagall's quote is explaining his relation to the Jewish society and Jewish art history 'Bletlach' (Leaflet - essay in Yiddish)

 * If a symbol should be discovered in a painting of mine, it was not my intention. It is a result I did not seek. It is something that may be found afterwards, and which can be interpreted according to taste.
 * In Marc Chagall 1887-1985: Painting As Poetry by Ingo F. Walther, Rainer Metzger, p. 78

 * I know I must live in France, but I don't want to cut myself off from America. France is a picture already painted. America still has to be painted. Maybe that's why I feel freer there. But when I work in America, it's like shouting in a forest. There's no echo.
 * as quoted by Joseph A. Harriss, in 'The Elusive Marc Chagall', - the 'Smithsonian Magazine', December 2003

 * Only a child had its place on the cross, and that was enough for me [to paint his Crucifixions, earlier].. ..in the exact sense there was no cross but a blue child in the air. The cross interested me less.
 * as quoted in From Rebel to Rabbi: Reclaiming Jesus and the Making of Modern Jewish Culture, Matthew B. Hoffman; Stanford University Press, 2007, p. 219
 * When I painted Christ's parents I was thinking of my own parents. The bearded man is the Child's father. He is my father. [Chagall stated this in 1950]
 * as quoted in From Rebel to Rabbi: Reclaiming Jesus and the Making of Modern Jewish Culture, Matthew B. Hoffman; Stanford University Press, 2007, p. 219

Quotes about Marc Chagall

 * When I write, I fly to another dimension. Like Eva Luna, I try to live life as I would like it to be, as in a novel. I am always half flying, like Marc Chagall's violinists.
 * Isabel Allende, Interviews with Latin American writers by Marie Lise Gazarian Gautier (1989)

 * Jacques Lipchitz and Marc Chagall were among the European artists who settled in New York City during the war...Chagall, after his arrival in 1941, also continued to explore imagery he had developed earlier, including that of the Wandering Jew and the crucified Jesus as well as the inhabitants of East European shtetls or villages.
 * Matthew Baigell Jewish-American Artists and the Holocaust (1997)

 * Under his [Chagall's] sole impulse metaphor [comparison of images] made its triumphal entry into modern painting.
 * André Breton, as quoted in Chagall – a biography, Jackie Wullschlagger, Knopf, Publisher, New York 2008, text from inside-cover

 * When you did catch a glimpse of his eyes, they were as blue as if they’d fallen straight out of the sky. They were strange eyes.. ..long, almond-shaped..  ..and each seemed to sail along by itself, like a little boat.
 * Bella Chagall; her description of their first encounter in Vitebsk, c. 1908-9; as quoted in 'Head over heels in love: Marc and Bella Chagall's spectacular romance', by Daniel Jamieson, in The Guardian.com, Friday 27 May 2016

 * He prepared his charcoal pencils, holding them in his hand like a little bouquet. Then he would sit in a large straw chair and look at the blank canvas or cardboard or sheet of paper, waiting for the idea to come. Suddenly he would raise the charcoal with his thumb and, very fast, start tracing straight lines, ovals, lozenges, finding an aesthetic structure in the incoherence. A clown would appear, a juggler, a horse, a violinist, spectators, as if by magic. When the outline was in place, he would back off and sit down, exhausted like a boxer at the end of a round.
 * Quote of Chagall's son McNeil; as cited by Joseph A. Harriss, in 'The Elusive Marc Chagall', - the 'Smithsonian Magazine', December 2003
 * McNeil wrote of his father's working methods in a memoir that was published in France 2002

 * Some art historians have sought to decrypt his symbols, but there's no consensus on what they mean. We cannot interpret them because they are simply part of his world, like figures from a dream.
 * Jean-Michel Foray, director of the Marc Chagall Biblical Message Museum in Nice; as quoted in 'The Elusive Marc Chagall', Joseph A. Harriss, in 'Smithsonian Magazine', December 2003

 * When Henri Matisse dies, Chagall will be the only painter left who understands what color really is. I'm not crazy about those cocks and asses and flying violinists and all the folklore, but his canvasses are really painted, not just thrown together. Some of the last thing's he's done in Venice [where Matisse painted his late frescoes in the chapel] convince me that there's never been anybody since Renoir who has the feeling for light that Chagall has. [Picasso is reacting to Chagall's daughter Ida, 1952]
 * Pablo Picasso, 1952; in a writing of Francoise Gilot; as quoted in Marc Chagall, – a Biography, by Sidney Alexander, Cassell, London, 1978, p. 440

 * I don't know where he [Marc Chagall] gets those images; he must have an angel in his head.
 * Pablo Picasso; as cited in Marc Chagall, – a Biography, by Sidney Alexander, Cassell, London, 1978, p. 33

title: Marc Chagall


text:
Allan Kaprow

Allan Kaprow (23 August 1927 – 5 April 2006) was an American Fluxus artist, assemblagist a pioneer in establishing the concepts of performance art, and the originator of Happenings.

Quotes

 * Pollock.. ..left us [c. 1958] at the point where we must be preoccupied with and even dazzled by the space and objects of our everyday life, either our bodies, clothes, rooms, or, if need be, the vastness of Forty-Second Street [New York]..  ..Objects of every sorts are materials for the new art, paints, chairs, food, electric and neon-lights, smoke, water, old socks, a dog, movies, a thousand other things which will be discovered by the present generation of artists..  ..All will become materials for this new concrete art.
 * In his essay 'The legacy of Jackson Pollock', published in 'ARTnews', Fall of 1958; as quoted by Christina Bryan Rosenberger, in 'Drawing the Line: The Early Work of Agnes Martin', Univ. of California Press, July 2016, p 121
 * this essay of 1958 became more or less an art-manifesto for the generation American artists after Abstract Expressionism

 * Around late 1961 to 1962, right around there, somewhat unevenly and sort of spottily, I began to do pieces that were based upon a short text of actions that only involved a handful of friends or students at some specific site — a site that was not marked as an art site, a ravine somewhere, or a roadway, or somebody's apartment, or the telephone, that is, the places of everyday life, not designated as sites of art. And the work itself, the action, the kind of participation, was as remote from anything artistic as the site was.. ..I chose the word Happening from its normal language usage somewhat earlier for that philosophical reason, but I didn't categorize that as lifelike until much later. But in fact, looking back, that's exactly what Happening meant.
 * In an interview with Robert C. Morgan, 1991; in the 'Journal of Contemporary Art, 4', no. 2, p. 56-69

 * Well, you know, a lot of work nowadays [c. 1991] tends to be illustrative of theory already written, and some of it tends to be quite consciously didactic, as if the determination is to teach somebody something. And letting that go for the moment, as far as its value is concerned, it's exactly the opposite of what I seem to find most useful, and that is to leave things open and not determine anything except the very clear form. The form is always very simple and clear. What is experienced is uncertain and unforeseeable, which is why I do it, and its point is never clear to me, even after I've done it. So that's a very, very different way of looking at the nature of our responsibility in the world.
 * In an interview with Robert C. Morgan, 1991; in the 'Journal of Contemporary Art, 4', no. 2, p. 56-69

 * [something like] a badly constructed or repaired motor, or like that wonderful event of Tinguely's, where he made a huge contraption in the backyard of the Museum of Modern Art called 'Homage to New York', which was a machine that destroyed itself in various humorous ways. It's that breakdown system along with slippages that you can't predict I find most interesting, not because I want to make a point about society as being a broken down system or that all life is entropic — I don't, but rather that its process is unforeseeable.
 * In an interview with Robert C. Morgan, 1991; in the 'Journal of Contemporary Art, 4', no. 2, p. 56-69

 * Most humans, it seems, still put up fences around their acts and thoughts – even when these are piles of shit – for they have no other way of delimiting them. Contrast Paleolithic cave paintings, in which animals and magical markings are overlayed with no differentiation or sense of framing. But when some of us have worked in natural settings, say in a meadow, woods, or mountain range, our cultural training has been so deeply ingrained that we have simply carried a mental rectangle with us to drop around whatever we were doing. This made us feel at home. (Even aerial navigation is plotted geometrically, thus giving the air a 'shape').
 * In his Essays on the Blurring of Art and Life, 1993; published by University of California Press, 4 October, 1993

 * It's not what artists touch that counts most. It's what they don't touch.
 * In his Essays on the Blurring of Art and Life, 1993; published by University of California Press, 4 October, 1993

 * You can't teach colour from Cézanne, you can only teach it from something like this bubble-gum wrapper.
 * PORTRAITS, Talking with Artists at the Met, The Modern, The Louvre and Elsewhere (1998) by Michael Kimmelman

 * The line between art and life should be kept as fluid, and perhaps indistinct, as possible.
 * 'Transfiguration of the Commonplace' by Anna Dezeuze in Variant 22 (Spring 2005).

 * A walk down 14th street is more amazing than any masterpiece of art.
 * [[http://streets2k5.albuscav.us/upstage_guide.pdfStreets 2K5 international festival Of Street Art (May 2005) p. 19

 * The problem with artlike art, or even doses of artlike art that still linger in lifelike art, is that it overemphasizes the discourse within art.
 * in 'Journal of Contemporary Art', Inc. accessed 2008-04-28

title: Allan Kaprow


text:
Irvine Welsh

Irvine Welsh (born in Leith, Edinburgh on September 27, 1958) is a Scottish novelist, playwright and short story writer.

Quotes

 * You can't just have stuff that is free and escapist, you have to have stuff that is confrontational as well. You need stuff that is mystical but you need the realism too.
 * "Alan Black Interviews Irvine Welsh for 3AM", ''3:AM Magazine (2004).

Trainspotting (1993)

 * Sometimes ah think that people become junkies just because they subconsiously crave a wee bit ay silence.
 * Renton, "Kicking: The Skag Boys, Jean-Claude Van Damme and Mother Superior" (Chapter 1, Story 1).

 * That beats any meat injection … that beats any fuckin cock in the world … Ali gasps, completely serious. It unnerves us tae the extent that ah feel ma ain genitals through ma troosers tae see if they're still thair.
 * Alison and Renton, "Kicking: The Skag Boys, Jean-Claude Van Damme and Mother Superior" (Chapter 1, Story 1) (ellipses in the original).

 * "We are all acquaintances now". It goes beyond our personal junk circumstances; a brilliant metaphor for our times.
 * ibid

 * The rhetorical question, the stock-in-trade weapon ay burds and psychos.
 * Tommy, "Relapsing: Scotland Takes Drugs in Psychic Defense" (Chapter 2, Story 1).

 * Ah hate cunts like that. Cunts like Begbie. Cunts that are intae basebaw-batting every fucker that's different; pakis, poofs, n what huv ye. Fuckin failures in a country ay failures. It's nae good blamin it oan the English fir colonising us. Ah don't hate the English. They're just wankers. We are colonised by wankers. We can't even pick a decent, vibrant, healthy culture to be colonised by. No. We're ruled by effete arseholes. What does that make us? The lowest of the fuckin low, tha's what, the scum of the earth. The most wretched, servile, miserable, pathetic trash that was ever shat intae creation. Ah don't hate the English. They just git oan wi the shite thuv goat. Ah hate the Scots.
 * Renton, "Relapsing: The Glass" (Chapter 2, Story 2).

 * The only people that ever made a difference to Billy were the Provos, and they were cunts as well. Ah've no illusions aboot them as freedom fighters. The bastards made ma brar intae a pile ay cat food. But they jist pulled the switch. His death was concieved of by these Orange cunts, comin through every July with thir sashes and flutes, fillin Billy's stupid head with nonsense aboot crown and country and aw that garbage. They'll go home chuffed fae the day. They kin tell aw thir mates aboot how one ay the family died, murdered by the IRA, while defending Ulster. It'll fuel thir pointless anger, get them bought drinks in pubs, and help establish their doss-bastard credibility wi other sectarian arseholes.
 * Renton, "Bang to Rites".

 * I dinnae Tam, ah jist dinnae. Life's boring and futile. We start oaf wi high hopes, then we bottle it. We realize that we're aw gaunnae die, withoot really findin oot the big answers. We develop aw they long-winded ideas which jist interpret the reality ay oor lives in different weys, withoot really extending oor body ay worthwhile knowledge, about the big things, the real things. Basically, we live a short, disappointing life; and then we die. We fill oor lives up wi shite, shite like joabs n relationships, tae delude ourselves intae thinkin that it isnae aw totally pointless. Smack's an honest drug, because it strips away these delusions. It's the only really honest drug. It disnae alter yir consciousness. It jist gies ye a hit and a sense ay well-being. After that, ye see the misery ay the world as it is, and ye cannae anesthaetise yirsel against it.
 * Renton, "Relapsing: Cock Problems" (Chapter 2, Story 4).

 * Funny scene, likesay, how aw the psychos seem tae ken each other, ken what ah means, likes?
 * Spud, "Kicking Again: Na Na and Other Nazis" (Chapter 3, Story 2).

 * Rents once sais, thirs nothin like a darker skin tone tae increase the vigilance ay the police n the magistrates: too right.
 * Spud, "Kicking Again: Na Na and Other Nazis" (Chapter 3, Story 2).

 * How many shots does it take before the concept ay choice becomes obsolete?
 * Renton, Blowing It: Courting Disaster" (Chapter 4, Story 1).

 * Ah wonder if anybody this side of the Atlantic has ever bought a baseball bat with playing baseball in mind.
 * Sick Boy, "Blowing It: Deid Dugs" (Chapter 4, Story 3).

 * Ah cannae feel any remorse, only anger and contempt. Ah seethed when ah saw that fuckin Union Jack oan his coffin, and that smarmy, wimpy cunt ay an officer, obviously oot ay his fuckin depth here, tryin to talk tae my Ma. Worse still, these Glasgow cunts, the auld boy's side, are here through en masse. They're fill ay shite aboot how Billy died in service ay his country n all that servile Hun crap. Billy wis a daft cunt, pure and simple. No a hero, no a martyr, just a daft cunt.
 * Renton, "Bang to Rites".

 * Society invents a spurious convoluted logic tae absorb and change people whae's behaviour is outside its mainstream. Suppose that ah ken aw the pros and cons, know that ah'm gaunnae huv a short life, am ay sound mind etcetera, etcetera, but still want tae use smack? They won't let ye dae it. They won't let ye dae it, because its seen as a sign ay thir ain failure. The fact that ye jist simply choose tae reject whit they huv to offer. Choose us. Choose life. Choose mortgage payments; choose washing machines; choose cars; choose sitting oan a fuckin couch watching mind-numbing and spirit-crushing game shows, stuffing fuckin junk food intae yir mooth; choose rotting away, pishing and shiteing yersel in a home, a total fuckin embarrassment tae the selfish, fucked-up brats ye've produced. Choose life. Well, ah choose no tae choose life. If the cunts cannae handle that, it's thair fuckin problem. As Harry Lauder sais, ah jist intend tae keep right on to the end of the road ...
 * Renton, "Blowing It: Searching for the Inner Man" (Chapter 4, Story 4).

 * Still, failure, success, what is it? Whae gies a fuck. We aw live, then we die, in quite a short space ay time n aw. That's it; end ay fuckin story.
 * Renton, "Blowing It: House Arrest" (Chapter 4, Story 5).

 * Ah thought that every cunt over twenty was a toss an no worth speakin tae, until ah hit twenty. The mair ah see, the mair ah think ah wis right. After that it's aw ugly compromise, aw timid surrender, progressively until death.
 * Renton, "Blowing It: Bang to Rites" (Chapter 4, Story 6).

 * He had noted that with older people. They often try to control younger, more popular and vivacious people; usually due to the fact that they are jealous of the qualities the younger people have and they lack. These inadequacies are disguised with a benign, protective attitude.
 * Renton, "The First Shag in Ages".

 * Ah suppose man, ah'm too much ay a perfectionist, ken? It's likesay, if things go a bit dodgy, ah jist cannae be bothered, y'know?
 * Spud, "Speedy Recruitment".

 * Ah've never felt anything about countries, other than total disgust. They should fuckin abolish the lot of them. Kill every fuckin parasite politician that ever mouthed lies and fascist platitudes in a shell-suit and a smarmy smile.
 * Renton, "London Crawling".

 * He died a hero they sais. Ah remember that song: Billy Don't Be A Hero. In fact, he died a spare prick in uniform, walkin along a country road wi a rifle in his hand. He died an ignorant victim ay imperialism, understanding fuck all about the myriad circumstances that led to his death. That was the real crime, he understood fuck all about it. All he hud tae guide him through this great adventure in Ireland, which led tae his death, was a few vaguely formed sectarian sentiments. The cunt died exactly how he lived: completely fuckin scoobied.
 * Renton, "Bang to Rites"

The Acid House (1994)

 * Ah jist shrugged, -- Well, as one anarchist plumber sais tae the other: smash the cistern.
 * A conversation between plumbers.
 * "A Blockage in the System".

 * That cunt Nietzsche wis wide ay the mark whin he sais ah wis deid. Ah'm no deid; ah jist dinnae gie a fuck. It's no fir me tae sort every cunt's problems oot. Nae other cunt gies a fuck so how should ah? Eh?
 * God talking to Boab, the story's main protagonist, in a pub.
 * "The Granton Star Cause".

 * Bad luck is usually transmitted by close proximity to habitual sufferers.
 * The narrator talking about Ange after they are released from prison.
 * "Stoke Newington Blues".

 * The duty sergeant was going through his routine of asking each brawling set of prisoners who the Billy and who the Tim was. If the handshake is right he will let the Billy go and slap the Tim around a bit. That way everybody's happy. The Billy gets to feel superior and delude himself that being a non-churchgoing 'protestant' is somehow important; the Tim gets to feel persecuted and indulge his paranoia about masonic conspiracies; the sergeant gets to slap the Tim around.
 * "The Two Philosophers".

 * There's nothing worse than a violent beating from an unremarkable person. Physical violence with someone is too much like shagging them. Too much id involved.
 * A Smart Cunt: A Novella, "Associates as Opiates" (Chapter 3).

 * That's all very well as an abstract moral principle, Avril, a coffee-table theoretical construct, but there's no denying the sheer gratuitous pleasure to be derived from seeing members of the ruling class in pain and torment.
 * A Smart Cunt: A Novella, "Marriage" (Chapter 13).
 * Darren and Brian explaining their own notions of anarchy to Avril.

 * Once you've been with each other in a primal, shagging state, it's hard to talk about the weather.
 * A Smart Cunt: A Novella, "Marriage" (Chapter 13).

title: Irvine Welsh