When I speak of the aspiration towards the beautiful, of the ideal as the ultimate aim of art, which grows from a yearning for that ideal, I am not for a moment suggesting that art should shun the 'dirt' of the world. On the contrary! the artistic image is always a metonym, where one thing is substituted for another, the smaller for the greater. To tell of what is living, the artist uses something dead; to speak of the infinite, he shows the finite. Substitution... the infinite cannot be made into matter, but it is possible to create an illusion of the infinite: the image.”

In a certain sense the past is far more real, or at any rate more stable, more resilient than the present. The present slips and vanishes like sand between the fingers, acquiring material weight, only in its recollection.” My objective is to create my own world and these images which we create mean nothing more than the images which they are. We have forgotten how to relate emotionally to art: we treat it like editors, searching in it for that which the artist has supposedly hidden. It is actually much simpler than that, otherwise art would have no meaning. You have to be a child—incidentally children understand my pictures very well, and I haven’t met a serious critic who could stand knee-high to those children. We think that art demands special knowledge; we demand some higher meaning from an author, but the work must act directly on our hearts or it has no meaning at all.”But hold on! Even assuming we solve how to maintain long-lasting ecologies in space and get so wealthy the costs of star-flight aren't crippling, you've still got the problem of time. To save this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you used this feature, you will be asked to authorise Cambridge Core to connect with your Google Drive account. Nollan, Valerie Z. (1989). "Sculpting in Time: Reflections on the Cinema. Andrey Tarkovsky Kitty Hunter-Blair". Slavic Review. 48 (2): 348. doi: 10.2307/2499169. JSTOR 2499169 . Retrieved 3 March 2019. Il film, quando non è un documentario, è un sogno. E’ per questo che Tarkovskij è il più grande di tutti”.

Sculpting in Time: Reflections on the Cinema (1986) by Andrei Tarkovsky translated by Kitty Hunter-Blair (1989, University of Texas Press) Tarkovsky, Andrey. 1988. Sculpting in Time. Translated by Kitty Hunter-Blair. Austin, TX: University of Texas Press. This recording can move the listener beyond the world of piano and guitar. Pay close attention and hear what is taking place here with these musicians and you too will be moved. daniel a zongrone go to album a b c Tarkovsky, Andrei (1986). Sculpting in Time. University of Texas Press. pp.7–14. ISBN 978-0-292-77624-1.Y respecto a ello, a lo material, al materialismo (visto desde la filosofía, y desde la cultura de masas y el consumismo), Tarkovski, que salió de la URSS en 1983, se sitúa en un espacio cuasi paria al criticar a ambos sistemas, aunque no los nombre. No nombra al Capitalismo y al Comunismo, pero sí habla de Occidente y su materialismo (lo cierto es que también critica a ese cine comprometido y político de la URSS con el que no quería tener nada que ver), y cree que la materia amenaza con devorar el espíritu del hombre. También equipara el avance de la tecnología con esa pérdida de espíritu (de ahí que esté relacionado con la introducción de este texto, en el que hablo de la entrada de la tecnología en los dosmiles, cosa que de alguna manera Tarkovski predijo, pese a que murió en los aún analógicos ochentas). Para Tarkovski el cine comercial no tiene valor alguno más que como fuente de generación de dinero y según su idea, el artista no está ahí por enriquecerse. Su visión del arte es totalizadora y metafísica (en el sentido no-místico, sino de trascendencia de lo humano): el arte es lo que salva al hombre de la pérdida de su espíritu. "Y por eso, quizá realmente consista el sentido de la existencia humana en la creación de obras de arte, en el acto artístico, ya que este no posee una meta y es desinteresado". Para el cineasta, lo que define el montaje ya lo contiene cada escena rodada. El tiempo que transcurre en cada una de ellas determina el tiempo general de la estructura total de escenas en el montaje. Si ambos tiempos no coinciden, la película no funcionará. Esto lo ilustra con una película de Eisenstein, en la que éste quiso reproducir el propio tiempo dinámico de una batalla, pero lo hizo cortando escenas y editándolas una tras otra con velocidad. Según Tarkovski, ello es un fallo, ya que no dejó que cada escena contenga en sí misma el ritmo de la batalla y lo que hizo resultó artificioso y sin sentido. Para él, la escena debe rodarse ya con la intención del montaje y no buscarlo después, más bien, debe hallarse el espíritu de la escena. Some sort of pressure must exist; the artist exists because the world is not perfect. Art would be useless if the world were perfect, as man wouldn’t look for harmony but would simply live in it. Art is born out of an ill-designed world.” God hears Alexander’s prayer, and the consequences are at once terrible and joyful. On the one hand, the practical result is that Alexander breaks irrevocably with the world and with its laws, which until now he has taken to be his own. In doing so, he not only loses his family, but also—and for those around him this is the most frightening thing of all—he puts himself outside all accepted norms. And yet, that is precisely why I see Alexander as a man chosen by God. He can sense the danger, the destructive force driving the machinery of modern society as it heads towards the abyss. And the mask must be snatched away if humanity is to be saved.

Toate filmele mele au vorbit într-un fel sau altul despre faptul că oamenii nu sunt singuri, aruncați într-un univers părăsit, că ei sunt legaţi de trecut şi de viitor prin nenumărate fire, că fiecare om, prin soarta lui, realizează legătura cu soarta universală a omenirii. Dar această speranță la rolul inteligent al fiecărei vieți în parte şi al fiecărei acțiuni omeneşti măreşte la nesfârşit responsabilitatea individului față de evoluția generală a vieții. Kollar treats his music with a deep degree of seriousness and personal involvement, as if each and every one of his projects was not only his proverbial brain child but as if it was his actual offspring. He treats his instrument as a gateway between his complex ideas and their audible representation, the same way a sculptor treats the chisel or a painter the brush."What would you like me to say Bastian? OH, I'M SORRY, INEZ. I DIDN'T MEAN TO BITE YOU, MY FANGS SLIPPED.” was not only his proverbial brain child but as if it was his actual offspring. He treats his instrument as a gateway between his complex ideas and their audible representation, the same way a sculptor treats the chisel or a painter the brush."