欧宝娱乐

“In love it does not matter what you say, but what you feel. In poetry it does not matter what you feel, but what you say.”
― Luis de G贸ngora

“Dido, heartbroken, decides to do what any operatic heroine would do at such a moment: sing an aria, then kill herself.”
― Robert Greenberg, How to Listen to and Understand Great Music

“The conventional use of words and of narrative structure is deliberately subverted in decadent fiction; language deviates from the established norms in an attempt to reproduce pathology on a textual level. With its emphasis on aberration and artifice, the decadents' approach to the language of fiction frequently leans towards the baroque and the obscure.”
― Asti Hustvedt, The Decadent Reader: Fiction, Fantasy, and Perversion from Fin-de-Si猫cle France

“I'm a Baroque person. More than Baroque, I'm a Rococo person. I don't draw straight lines.”
― Nuno Roque

“Others, tiring of the sound of Buxtehude and Bach for hours on end, would complain there was no tune. That was exactly the thing he liked best about a fugue, the fact that it could not be sung. A fugue was not singular, as a melody was, but plural. It was a conversation.”
― Kate Grenville, The Lieutenant

“But the artistic program of the Counter Reformation, the propagation of Catholicism through the medium of art among the braod masses of the population, is frist accomplished by the baroque. It is obvious that what was in the mind of the Council of Trent was not an art which, like mannerism, appealed merely to a thin stratum of intellectuals, but a people's art, such as the baroque in fact became. At the time time of the Council, mannerism was the most widespread and the most live form of art, but it in no way represented the particular direction which was best calculated to solve the artistic problems of the Counter Reformation. The fact that it had to yield to the baroque is to be explained, above all, by its inability to master the ecclesiastical tasks committed to art by the Counter Reformation.”
― Arnold Hauser, The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque

“As an artistic style, mannerism conformed to a divided outlook on life which was, nevertheless, spread uniformly all over Western Europe; the baroque is the expression of an intrinsically more homogeneous world-view, but one which assumes a variety of shapes in the different European countries. Mannerism, like Gothic, was a universal European phenomenon, even if it was restricted to much narrower circles than the Christian art of the Middle Ages; the baroque, on the other hand, embraces so many ramifications of artistic endeavor, appears in so many different forms in the individual countries and spheres of culture, that it seems doubtful at first sight whether it is possible to reduce them all to a common denominator.”
― Arnold Hauser, The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque

“In a conservative courtly culture an artist of his (Rembrandt's) kind would perhaps never made a name for himself at all, but, once recognized, he would probably have been able to hold his own better than in liberal middle-class Holland, where he was allowed to develop in freedom, but which broke him when he refused to submit any longer. The spiritual existence of the artist is always in danger; neither an authoritarian nor a liberal order of society is entirely free from peril for him; the one gives him less freedom, the other less security. There are artists who feel safe only when they are free, but there are also such as can breathe freely only when they are secure. The seventeenth century was, at any rate, one of the period furthest removed from the ideal of synthesis of freedom and security.”
― Arnold Hauser, The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque

“Like all disappearing forms, art seeks to duplicate itself by means of simulation, but it will nevertheless soon be gone, leaving behind an immense museum of artificial art and abandoning the field completely to advertising.
A dizzying eclecticism of form, a dizzying eclecticism of pleasure - such, already, was the agenda of the baroque. For the baroque, however, the vortex of artifice has a fleshly aspect. Like the practitioners of the baroque, we too are irrepressible creators of images, but secretly we are iconoclasts - not in the sense that we destroy images, but in the sense that we manufacture a profusion of images in which there is nothing to see. Most present-day images - be they video images, paintings, products of the plastic arts, or audiovisual or synthesized images - are literally images in which there is nothing to see. They leave no trace, cast no shadow, and have no consequences. The only feeling one gets from such images is that behind each one there is something that has disappeared. The fascination of a monochromatic picture is the marvellous absence of form - the erasure, though still in the form of art, of all aesthetic syntax. Similarly, the fascination of trans sexuality is the erasure - though in the form of spectacle - of sexual difference. These are images that conceal nothing, that reveal nothing - that have a kind of negative intensity. The only benefit of a Campbell's soup can by Andy Warhol (and it is an immense benefit) is that it releases us from the need to decide between beautiful and ugly, between real and unreal, between transcendence and immanence. Just as Byzantine icons made it possible to stop asking whether God existed - without, for all that, ceasing to believe in him.”
― Jean Baudrillard, The Transparency of Evil: Essays in Extreme Phenomena

“Cups and Rings and Drawings.

I stopped by a famed park,
Picked a blank sheet
And drew a cup.

For me, it represented me holding myself up in a storm,
It represented the start of life,
Something to pour out every lesson learnt
Out of every misfortune we鈥檝e ever been.
The cup 鈥� the container to hold chocolate drink
Water. Wine and strawberries.

I drew a ring,
A marriage between blessing and joy
The bloom of flowers in spring
The sprouting of leaves in midsummer
And the smell of fresh grasses at night.

I drew Monalisa
I painted art
I became Michaelangelo
Da Vinci
I became the Renaissance
I healed through art

鈥淒on鈥檛 you know that you are gods?鈥�

So the first day,
I cleared the storms out of my life.
The second day,
I dried all my tears
The third day,
I reinvented myself.
The fourth day,
I finally remembered what it felt like to be happy
Like two children drawing arts on a canvass.
Delilah & Annabelle
Arts curled out of girls trying to reinvent the world
Or the colours of the rainbow.
The fifth day,
I opened the windows wide
To let the lights shine in.
鈥淲hen I鈥檓 down on my knees you鈥檙e how I pray.鈥�
The sixth day
I created my favourite masterpiece 鈥� Baroque.
The seventh day,
I admired myself in the mirror.

I missed me
I missed the time I had so much optimism
I miss you
And I miss writing so innocently.”
― J.Y. Frimpong

“The works that Johann Sebastian Bach has left us, are a priceless national heritage, of a kind that no other race possesses.”
― Johann Nikolaus Forkel

“Twilight was reaching its climax, no doubt: the last fires of the sun, like a violent dermatitis, ruched and ravined the horizon, giving it blisters, edema, and creases 鈥� the yellows, oranges, turquoise, ocher, reddish purples, crimsons, and browns became more vivid as the star descended, becoming bruises, scales, scabs, clots, and even bleeding eviscerations, as though the sky were reproducing the painful sequence of it's birth, what psychoanalysts call repetition compulsion.”
― Eric Laurrent from "Do Not Touch"

“...crossed the room to where a selection of implements was arranged on a table top. These could have been mistaken for the trade tools of a cook, physician, or torturer, save for the fact that the surface on which they rested was a slab of polished pink marble, topping a white and gilt dressing table-cum-sculpture, done up in the new, hyper-Baroque style named Rococo. It was adorned, for example, with several cherubs, bows drawn, eyes asquint, as they drew beads on unseen targets, butt cheeks polished to a luster with jeweler鈥檚 rouge. It had, in other words, all the earmarks of a gift that had been sent to the princess by someone with a lot of money who did not know her very well.”
― Neal Stephenson

“Nec pluribus impar (N茫o inferior aos outros)”
― Louis XIV (King of France)

“Quo non ascendam? (onde n茫o chegarei eu?)
- Louis XIV, King of France”
― Verbo, Os Grandes da Hist贸ria Luis XIV O Rei Sol

“Nec pluribus impar (n茫o inferior a outros)
- Louis XIV, King of France”
― Verbo, Os Grandes da Hist贸ria Luis XIV O Rei Sol

“But if Cravaggio really is the first master of modern age to be slighted by reason of his artistic worth, then the baroque signifies an important turning point in the relationship between art and the public - namely, the end of the "aesthetic culture" which begins with the Renaissance and the beginning of the more rigid distinction between content and form in which formal perfection no longer serves as excuses for any ideological lapse.”
― Arnold Hauser, The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque

“It is the court which gives the great, commanding style of art its guiding principles; here is formed that "grande mani猫re" which invests reality with an idea, resplendent, festive, and solemn character, and which set the standard for the style of official art in the whole Europe. To be sure, the French court attains the international recognition of its manners, fashion and art at the expense of the national character of French culture. The French, like the ancient Romans, look upon themselves as the citizens of the world, and nothing more typical of their cosmopolitan outlook than the fact that in all the tragedies of Racine, as has been noted, not a single Frenchmen appears.”
― Arnold Hauser, The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque

“Like all the forms of life and culture of the age, first of all the mercantilism economic system, the aesthetic of classicism of guided by the principles of absolutism - the absolute primacy of the political conception over all the other expressions of cultural life. The special characteristic of the new social and economic forms is the anti-individualistic tendency derived from the idea of the absolute state. Mercantilism is also, in contrast to the older form of profit economy, based on state-centralism, not on individual units, and it attempts to eliminate the regional centres of trade and commerce, the municipalities and the corporations - that is to say, to put state-autonomy in the place of separate autarchies.”
― Arnold Hauser, The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque

“They have not the slightest awareness of how restricted their idea of "universality" is and of how few they are thinking when they talk about "everybody" and "anybody". Their universalism is a fellowship of the elite - of the elite as formed by absolutism. There is hardly a rule or a requirement of classicistic aesthetics which is not based on the ideas of this absolutism. The desire is that art should have a unifor character, like the state, should produce the effect of formal perfection, like the movement of a corps, that it should be clear and precise, like a decree, and be governed by absolute rules, like the life of every subject in the state. The artist should be no more left to his own devices than any other citizen; he should rather be guided by the law, by regulations, so as not to go astray in the wilderness of his own imagination.”
― Arnold Hauser, The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque

“Before embarking on this project, I doubt I ever truly properly appreciated precisely how urgent the various voices of the New Testament authors are, or how profound the provocations of what they were saying were for their own age, and probably remain for every age. Those voices blend, or at least interweave, in a kind of wildly indiscriminate polyphony, as if an early Baroque vocal trio, an Appalachian band, a couple of Viennese tenors piping twelve-tone Lieder, and a jazz crooner or two were all singing out together; but what all have in common, and what somehow forges a genuine harmony out of all that ecstatic clamor, is the vibrant certainty that history has been invaded by God in Christ in such a way that nothing can stay is it was, and that all terms of human community and conduct have been altered at the deepest of levels.”
― David Bentley Hart, The New Testament

“One hundred years of solitude.

"There is always something left to love."

I think about wanting you back.
I think of not wanting you back.
And all the things in between.

Sometimes I miss you.
Sometimes I don't.

Like my weakness, I go back to remembering you all the time.
So I built myself an imaginary friend, wandered through all its dark shelves.

I made it home.

I brought genie out of its bottle.
I didn't want a wish because you are a dangerous thing to have.
I've been there before, and nothing came out of it.

I listened to music.
All those tears rushed back in.
I remembered the dream I had once.
I thought I had prayed it away.
Then I realized, "I only delayed it."

My vulnerabilities started coming in.

"Do I terrify?"

But no, even my imaginary friend leaves me.
And I realize that, "Hey, this is who I am."
I have to make the best of this.
I have to make your emptiness home.
I have to write you away.
Perhaps that'll bring the clarity.
And these last tears will be the last to fall for you”
― J.Y. Frimpong