We make, see, and love films, not digitals. To convert all of our movies, home videos, theaters, photographs and television to digital would be like telling a painter to throw away his brushes and canvas for an I-Pad. Celluloid isn't just nostalgic, it's an art form and, like it or not, it's superior to digital. It lasts much longer, it provides grain and brighter colors, and it takes more effort so that it produces something wonderful. With the inferior binary codes, pixels and untested shelf-life of digital files, plus the fact that these days anyone with a digital camera, even a two-year-old, can make a video and pollute the world with self-photography and cat pictures, film has a lot more integrity and worth than digital.

أنا الذي نظر الأعمى الي بروفايلي وأسمعت صوتياتي ومرئياتي من به صمم .. الفيس و جوجل و الياهو والنت يعرفني وتويتر ويوتيوب ونيت لوجي

This was not the perfect work that had existed in her mind. It was only the imperfect rendering that was the best her skill could manage. Yet Giulia was not dismayed. For she knew that she would try again – and again, and again, for as long as it took to gain the experience, the judgment, the understanding to get it right. And perhaps she never would get it right. Perhaps she would never attain that flawless blue, never create that perfect image, never find the ultimate point of balance between what she could accomplish an what she could dream. Yet wasn’t that the point? To be drawn onward, ever onward, in pursuit of your deepest passion? To look back at the end fo the race and knew that you had never done less than the most you could do?

I once had a drinking contest with an artist on his yacht... It amused him as I took shot after shot, and I realized that this was the reason he'd invited us, his amusement. Looking back, I thought he didn't expect we'd have anything to say, that my questions about the artist's purpose, his existential quest for self in a communally-brutalized past, were not as amusing as they were thought-provoking, but I'll never know. As I swayed like a sailor in drunken bitterness, I felt something had been sacrificed to his art. He'd gone so far out on that boat there was no way for him to come back. I felt he no longer existed and was just the faded intention of color on canvas. His humanity had surely been washed away with the paint thinner.

And still, still, there is more to describe- we paint because drawing breath is an agony and exhaling an ecstasy and somewhere in the space in-between we think we once found a truth; and the eternal part of us desires to share this truth at all costsonly it's never quite how we pictured it, and it's never quite received the way we wantand the paint drips with our own blood the handles of our brushes are our own bonesour own tears become the words to our most beautiful love songs and we know we'll never get it right before we die-getting up every morning and facing our own limited truth is a courage so divine most men quell and women stay enslaved in silence.

Jack was too absorbed in his work to hear the bell. He was mesmerized by the challenge of making soft, round shapes of hard rock. The stone had a will of its own, and if he tried to make it do something it did not want to do, it would fight him, and his chisel would slip, or dig in too deeply, spoiling the shapes. But once he had got to know the lump of rock in front of him he could transform it. The more difficult the task, the more fascinated he was. He was beginning to feel that the decorative carving demanded by Tom was too easy. Zigzags, lozenges, dogtooth, spirals and plain roll moldings bored him, and even these leaves were rather stiff and repetitive. He wanted to curve natural-looking foliage, pliable and irregular, and copy the different shapes of real leaves, oak and ash and birch.

Edwin Land of Polaroid talked about the intersection of the humanities and science. I like that intersection. There's something magical about that place. There are a lot of people innovating, and that's not the main distinction of my career. The reason Apple resonates with people is that there's a deep current of humanity in our innovation. I think great artists and great engineers are similar in that they both have a desire to express themselves. In fact some of the best people working on the original Mac were poets and musicians on the side. In the seventies computers became a way for people to express their creativity. Great artists like Leonardo da Vinci and Michelangelo were also great art science. Michelangelo knew a lot about how to quarry stone, not just how to be a sculptor.

Van Gogh on his brother's upcoming marriage: "It’s because he’s in Holland, where he’s getting married one of these days. Now, while not denying the advantages of a marriage in the very least, once it has been done and one is quietly set up in one’s home, the funereal pomp of the reception &c., the lamentable congratulations of two families (even civilized) at the same time, not to mention the fortuitous appearances in those pharmacist’s jars where antediluvian civil or religious magistrates sit – my word – isn’t there good reason to pity the poor unfortunate obliged to present himself armed with the requisite papers in the places where, with a ferocity unequalled by the cruellest cannibals, you’re married alive on the low heat of the aforementioned funereal receptions.

Not without deep pain do we admit to ourselves that the artists of all ages have in their highest flights carried to heavenly transfiguration precisely those conceptions that we now recognize as false: they are the glorifiers of the religious and philosophical errors of humanity, and they could not have done this without their belief in the absolute truth of these errors. Now if the belief in such truth generally diminishes, if the rainbow colors at the outermost ends of human knowing and imagining fade: then the species of art that, like the Divina commedia, Raphael's pictures, Michelangelo's frescoes, the Gothic cathedrals, presupposes not only a cosmic, but also a metaphysical significance for art objects can never blossom again. A touching tale will come of this, that there was once such an art, such belief by artists.

The artist is often misunderstood because, stepping outside himself and holding most details in great tension, he's about as complex as a shape-shifter; or a head with faces on all sides, but not necessarily in the negative connotation as one being two-faced usually implies. For instance, to be misunderstood can mean to be improperly deemed a troublemaker when that is not one's true intent: you see, to troublemakers, the artist knows that the peacemaker may seem like a troublemaker; therefore he may, whether in honesty or in jest, at times, present himself as a troublemaker for perceptual, artistic flair. But then to the artless peacemakers, because of this they will interpret him as a troublemaker. This is why the artist has so few allies. To the troublemakers he's a troublemaker, yet still the peacemakers a troublemaker.

During the act of making something, I experience a kind of blissful absence of the self and a loss of time. When I am done, I return to both feeling as restored as if I had been on a trip. I almost never get this feeling any other way. I once spent sixteen hours making 150 wedding invitations by hand and was not for one instance of that time tempted to eat or look at my watch. By contrast, if seated at the computer, I check my email conservatively 30,000 times a day. When I am writing, I must have a snack, call a friend, or abuse myself every ten minutes. I used to think that this was nothing more than the difference between those things we do for love and those we do for money. But that can't be the whole story. I didn't always write for a living, and even back when it was my most fondly held dream to one day be able to do so, writing was always difficult. Writing is like pulling teeth. From my dick.

ေက်ာ္ၾကားတာကို ဂရုမစိုက္ဘူးဆိုတာ ေက်ာ္ၾကားျပီးတဲ့ လူေတြ ၊ ဒါမွမဟုတ္ ဘယ္ေတာ့မွ ေက်ာ္ၾကားမွာမဟုတ္တဲ့လူေတြ အဲသည္လူေတြကသာေျပာတယ္လို႔ ကၽြန္မထင္တယ္ ။

What would you do if you saw something nobody else could see?”The tape gun fell out of Luke’s hand, and hit the tiled hearth. He knelt to pick it up, not looking at her. “You mean if I were the only witness to a crime, that sort of thing?”“No. I mean, if there were other people around, but you were the only one who could see something. As if it were invisible to everyone but you.”He hesitated, still kneeling, the dented tape gun gripped in his hand.“I know it sounds crazy,” Clary ventured nervously, “but…”He turned around. His eyes, very blue behind the glasses, rested on her with a look of firm affection. “Clary, you’re an artist, like your mother. That means you see the world in ways that other people don’t. It’s your gift, to see the beauty and the horror in ordinary things. It doesn’t make you crazy—just different. There’s nothing wrong with being different.

Others, faced with Turner's competitiveness were less contented. C.R. Leslie was on hand when Turner's Helvoetsluys, to start with "a grey pictre, beautiful and true, but with no positive colour in any part of it", was hung next to Constable's Opening of Waterloo Bridge Leslie wrote that Constable's painting looked as if painted with liquid gold and silver, and Turner came several times into the room while Constable was heightening with vermilion and lake the decorations and flags of the city barges. Turner stood behind Constable, looking from "Waterloo" to his own picture, and at last went and got his palette from the Great Room where he had been touching another picture. He then put a round daub of red lead, "somewhat bigger than a shilling, on his grey sea, [and] went away without saying a word. The intensity of the red lead, made more vivid by the coolness of his picture, caused even the vermilion and lake of Constable to look weak. I came into the room just as Turner left it. "He as been here," Said Constable, "and fired a gun.

Where the Divine and the Human Meet" shows how important it is to meet the world with the creativity of an artist, particularly in these uncertain times: "What do we do with chaos? Creativity has an answer. We are told by those who have studied the processes of nature that creativity happens at the border between chaos and order. Chaos is a prelude to creativity. We need to learn, as every artist needs to learn, to live with chaos and indeed to dance with it as we listen to it and attempt some ordering. Artists wrestle with chaos, take it apart, deconstruct and reconstruct from it. Accept the challenge to convert chaos into some kind of order, respecting the timing of it all, not pushing beyond what is possible—combining holy patience with holy impatience--that is the role of the artist. It is each of our roles as we launch the twenty-first century because we are all called to be artists in our own way. We were all artists as children. We need to study the chaos around us in order to turn it into something beautiful. Something sustainable. Something that remains".