Howard Rheingold Quotes

It's productive and fun to try interpreting cave paintings, but ultimately, they can't teach us anything beyond what we imagine them to be.

I have always been fascinated by paleontology and prehistoric people, and I've always thought that one of the most intriguing moments in human history was the birth of artistic imagination. I always loved those cave paintings.

Do cave paintings mean anything? Not really, but I, for one, am happy to have them.

Literature is love. I think it went like this: drawings in the cave, sounds in the cave, songs in the cave, songs about us. Later, stories about us.

The cave art of Madison Avenue has been by far the most innovative and educative art form of the twentieth century.

Chauvet Cave is rather like the awakening of the modern human soul or I would say the awakening of modern human culture. Because Neanderthal men who still rode the landscape parallel to the people who did these paintings didn't have culture. There's no evidence of culture, no symbolic depiction, no evidence of music, no evidence of sculptures, no evidence of religious beliefs.

[On the ancient Venus figurines:] If the central religious figure was a woman giving birth and not, as in our time, a man dying on a cross, it would not be unreasonable to infer that life and the love of life - rather than death and the fear of death - were dominant in society as well as art.

We have to realize our black heritage in order to give us strength to move on and progress. But as far as returning to the old African culture, it's unnecessary and it's not advantageous in many respects. We believe that culture itself will not liberate us. We're going to need some stronger stuff.

Modern language must be older than the cave paintings and cave engravings and cave sculptures and dance steps in the soft clay in the caves in Western Europe, in the Aurignacian Period some 35,000 years ago, or earlier. I can't believe they did all those things and didn't also have a modern language.

When you look at the paintings at Chauvet Cave, they're not primitive or like children's little scribbles, it bursts on the scene fully accomplished and when you look through the faces of cultural history, art history, it has never gotten any better.

Art moves. Hence its civilizing power.

Some people become cops because they want to make the world a better place. Some people become vandals because they want to make the world a better looking place.

Now defined as art, the totem has lost cult, taboo, and custom.

All art intuitively apprehends coming changes in the collective unconsciousness.

The art of subversion, of revolution, is to dislodge established customs by probing down to their origins in order to show how they lack authority and justice.

The dynamism and freedom that characterizes the West is the product of Christianity's reforming itself and moving forward culturally. The ascendancy of the West is the story of the difference that Christianity makes, and it's a story we can't let our culture forget.

The art of progress is to preserve order amid change, and to preserve change amid order. Life refuses to be embalmed alive. The more prolonged the halt in some unrelieved system of order, the greater the crash of the dead society.

Art has no other object than to set aside the symbols of practical utility, the generalities that are conventionally and socially accepted, everything in fact which masks reality from us, in order to set us face to face with reality itself.

The arts and sciences, in general, during the three or four last centuries, have had a regular course of progressive improvement. The inventions in mechanic arts, the discoveries in natural philosophy, navigation and commerce, and the advancement of civilization and humanity, have occasioned changes in the condition of the world and the human character which would have astonished the most refined nations of antiquity. A continuation of similar exertions is everyday rendering Europe more and more like one community, or single family.

The definition of who's literate and who's not keeps changing. So, in Neanderthal times, if you painted on a cave wall, that was enough to transmit how you hunt, how you eat, how you cook, how you dress, and we can read about that.

Perhaps, you know, new laws, new domains of potential openness are occurring as the universe ages, and complexity previously disallowed is now possible, and we are that complexity. We are nature moving out of its genetic phase - a phase under the control of chemical genes, which are physical structures, in to an epigenetic phase, a phase of culture ruled by codes, transformable culturally confined codes - mathematics, religion, philosophy, art, dance, humor.

Society never advances. It recedes as fast on one side as it gains on the other. It undergoes continual changes: it is barbarous, it is civilized, it is rich, it is scientific; but this change is not amelioration. For every thing that is given, something else is taken. Society acquires new arts and loses old instincts.

Man needs spiritual expression and nourishing... even in the prehistoric era, people would scrawl pictures of bison on the walls of caves.

Artists, whatever their medium, make selections from the abounding materials of life, and organize these selections into works that are under the control of the artist.... In relation to the inclusiveness and literally endless intricacy of life, art is arbitrary, symbolic and abstracted. That is its value and the source of its own kind of order and coherence.

I hate symbolic art in which the presentation loses all spontaneous movement in order to become a machine, an allegory -- a vain and misconceived effort because the very fact of giving an allegorical sense to a presentation clearly shows that we have to do with a fable which by itself has no truth either fantastic or direct; it was made for the demonstration of some moral truth.