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“Good nature is, of all moral qualities, the one that the world needs most, and good nature is the result of ease and security, not of a life of arduous struggle. Modern methods of production have given us the possibility of ease and security for all; we have chosen, instead, to have overwork for some and starvation for the others. Hitherto we have continued to be as energetic as we were before there were machines; in this we have been foolish, but there is no reason to go on being foolish for ever.”

“In point of fact there are a certain number of values and of forces which are of decisive importance in our world civilization: the primacy of production, the continual growth of the power of the State and the formation of the National State, the autonomous development of technics, etc. These, among others - far more than the ownership of the means of production or any totalitarian doctrine - are the constitutive elements of the modern world. So long as these elements continue to be taken for granted, the world is standing still.”

“People think that they have no right to judge a fact - all they have to do is to accept it. Thus from the moment that technics, the State, or production, are facts, we must worship them as facts, and we must try to adapt ourselves to them. This is the very heart of modern religion, the religion of the established fact, the religion on which depend the lesser religions of the dollar, race, or the proletariat, which are only expressions of the great modern divinity, the Moloch of fact.”

“Pragmatism , in trying to turn experimental physics into a prototype of all science and to model all spheres of intellectual life after the techniques of the laboratory, is the counterpart of modern industrialism, for which the factory is the prototype of human existence, and which models all branches of culture after production on the conveyor belt.”

“The more I read, the less I admire modern theology. the more I study the productions of the new schools of theological teachers, the more I marvel that men and women can be satisfied with such writings. There is a vagueness, a mistiness, a shallowness, an indistinctness, a superficiality, an aimlessness, a hollowness about the literature of the 'broader and kinder systems', as they are called, which to my mind stamps their origin on their face. They are of the earth, earthy.”

“What's holding me up is I'm confused about the nature of the music. Because the modern music doesn't reach me. I mean to say the sound of the modern electric production. A lot of sequencers... synths. That's what people are buying. Because that doesn't reach me, it throws me back to like 1948, but I don't want to be there. Back there, I'm talking about blues records... The roots of rock'n'roll is rhythm and blues and that's like really where I'm at, where I was always at.”

“I started by saying that one of the most fateful errors of our age is the belief that the problem of production has been solved. This illusion, I suggested, is mainly due to our inability to recognize that the modern industrial system, with all its intellectual sophistication, consumes the very basis on which is has been erected. To use the language of the economist, it lives on irreplaceable capital which it cheerfully treats as income.”

“The effect of the post-Enlightenment project for human society is that all human activity is absorbed into labor. It becomes an unending cycle of production for the sake of consumption. The modern concept of "built-in obsolescence" makes this clear. The cycle of production and consumption has to be kept going, and the work of the artist or craftsman who aims to create something enduring becomes marginal to the economic order.”

“Everything I write is personal, really. Even when I'm sarcastic, it's quite personal. And on this record, from the production to the singing to the performances, I got it really honest. To the modern ear, it seems soft. When you hear it against other things, it seems vulnerable. Lyrically and musically, though, this is more subtle. And, yes, it's asking a lot of someone who's used to being hit over the head with bright neon to listen to this.”