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It Was The Basilica Of Gossip, The Vatican Of Inside Dope.

The Basic Project Of Art Is Always To Make The World Whole And Comprehensible, To Restore It To Us In All Its Glory And Its Occasional Nastiness, Not Through Argument But Through Feeling, And Then To Close The Gap Between You And Everything That Is Not You, And In This Way Pass From Feeling To Meaning. It's Not Something That Committees Can Do. It's Not A Task Achieved By Groups Or By Movements. It's Done By Individuals, Each Person Mediating In Some Way Between A Sense Of History And An Experience Of The World.

Nothing They Design Ever Gets In The Way Of A Work Of Art

For The Machine Meant The Conquest Of Horizontal Space. It Also Meant A Sense Of That Space Which Few People Had Experienced Before – The Succession And Superimposition Of Views, The Unfolding Of Landscape In Flickering Surfaces As One Was Carried Swiftly Past It, And An Exaggerated Feeling Of Relative Motion (the Poplars Nearby Seeming To Move Faster Than The Church Spire Across The Field) Due To Parallax. The View From The Train Was Not The View From The Horse. It Compressed More Motifs Into The Same Time. Conversely, It Left Less Time In Which To Dwell On Any One Thing.

Essentially, Perspective Is A Form Of Abstraction. It Simplifies The Relationship Between Eye, Brain And Object. It Is An Ideal View, Imagined As Being Seen By A One-eyed, Motionless Person Who Is Clearly Detached From What He Sees. It Makes A God Of The Spectator, Who Becomes The Person On Whom The Whole World Converges, The Unmoved Onlooker.