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Impressions
This nOde last updated October 10th, 2004 and is permanently morphing...
(13 Cimi / 9 Yax (Green) - 26/260 - 12.19.11.12.6)
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impression
impression (îm-prèsh´en)
noun
1.An effect, a feeling,
or an image retained as a consequence of experience.
2.A vague notion, remembrance,
or belief: I have the impression that we have met once before.
3.A mark produced on a surface
by pressure.
4.The act or process
of impressing.
5.Printing. a. All the copies
of a publication printed at one time
from the same set of type. b. A single copy of such a printing.
6.A humorous imitation of
the voice and mannerisms of a famous person done by an entertainer.
7.An initial or single coat
of color or paint.
8.Dentistry. An imprint
of the teeth and surrounding tissues, formed with a plastic material that
hardens into a mold for use in making dentures, inlays, or plastic models.
Synonyms: impression, impress, imprint, print, stamp. The central meaning shared by these nouns is "a visible mark made on a surface by pressure": an impression of a notary's seal on wax; the impress of bare feet in the sand; a medal marked with the imprint of a bald eagle; a tar driveway with the print of automobile tires; a gold ingot with the refiner's stamp.
impression (noun)
representation: assuming the part of, impression, impersonation
Parents
The thing that impresses
me most about America is the way parents obey their children.
Edward, Duke of Windsor
(1894-1972), King Edward VIII of Great Britain and Northern Ireland. Look
(New York, 5 March 1957).
Originality
Nearly all our originality
comes from the stamp that time impresses upon our sensibility.
Charles Baudelaire (1821-67),
French poet. "The Painter of Modern Life," sct. 4, in L'Art Romantique
(1869; repr. in Selected Writings on Art and Artists, ed. by P. E. Charvet,
1972).
The Mind
What impresses men is not
mind, but the result of mind.
Walter Bagehot (1826-77),
English economist, critic. The English Constitution, ch. 8 (1867).
San Francisco
A madhouse of frenzied moneymaking
and frenzied pleasure-seeking, with none of the corners chipped off. It
is beautifully situated and the air reminds one curiously of Edinburgh.
Aleister
Crowley (1875-1947), British occultist. The Confessions of Aleister
Crowley, ch. 25 (1929; rev. 1970), said of San Francisco in 1898. Later,
in 1917, Crowley's impressions had changed: "The old charm had vanished
completely. It had become a regular fellow. The earthquake had swallowed
up romance, and the fire burnt up the soul of the city to ashes. The phoenix
had perished and from the cinders had arisen a turkey buzzard." (Confessions,
ch. 77).
Universities and Colleges
I am not impressed by the
Ivy League establishments. Of course they graduate the best- it's all they'll
take, leaving to others the problem of educating the country. They will
give you an education the way the banks will give you money- provided you
can prove to their satisfaction that you don't need it.
Peter De Vries (1910-93),
U.S. author. The narrator (Joe Sandwich), in The Vale of Laughter, pt.
1, ch. 4 (1967).
Activism
I've always had the impression
that real
militants are like cleaning women, doing a thankless, daily but necessary
job.
François Truffaut
(1932-84), French film director. Letter, May-June 1973, to director Jean-Luc
Godard (published in Letters, 1989).
Art
As a general truth, it is
safe to say that any picture that produces a moral impression is a bad
picture.
Goncourt Edmond de (1822-96)
and Jules de (1830-70), French writers. The Goncourt Journals (1888-96;
repr. in Pages from the Goncourt Journal, ed. by Robert Baldick, 1962),
entry for 7 Dec. 1860.
The British
The British do not expect
happiness. I had the impression, all the time
that I lived there, that they do not want to be happy; they want to be
right.
Quentin Crisp (b. 1908),
British author. "Love Lies Bleeding" (published in New Statesman and Society,
9 Aug. 1991; first broadcast 6 Aug. 1991).
 |
Among all the world's
races, some obscure Bedouin tribes possibly apart, Americans are the most
prone to misinformation. This is not the consequence of any special preference
for mendacity, although at the higher levels of their public administration
that tendency is impressive. It is rather that so much of what they themselves
believe is wrong.
John Kenneth Galbraith (b.
1908), U.S. economist. "The United States," in New York (15 Nov. 1971;
repr. in A View from the Stands, 1986).
It is singular how soon we
lose the impression of what ceases to be constantly before us. A year impairs,
a lustre obliterates. There is little distinct left without an effort of
memory, then indeed the lights are rekindled for a moment-
but who can be sure that the Imagination
is not the torch-bearer?
Lord Byron (1788-1824),
English poet. Detached Thoughts, no. 51 (1821-22; published in Byron's
Letters and Journals, vol. 9, ed. by Leslie A. Marchand, 1979).
 |
impressionism
impressionism (îm-prèsh´e-nîz´em)
noun
1. Often Impressionism .
A theory or style of painting originating and developed in France during
the 1870's, characterized by concentration on the immediate visual impression
produced by a scene and by the use of unmixed primary colors and small
strokes to simulate actual reflected light.
2. A literary style characterized
by the use of details and mental associations to evoke subjective and sensory
impressions rather than the re-creation of objective reality.
3. Music. A style of the
late 19th and early 20th centuries, using lush and somewhat vague harmony
and rhythm to evoke suggestions of mood, place, and natural phenomena.
4. The practice of expressing
or developing one's subjective response to a work of art or to actual experience.
Impressionism
Impressionism, movement in painting and music that developed in late-19th-century France in reaction to the formalism and sentimentality of academic art and of much 18th- and early-19th-century music.
Painting
Impressionism in painting
arose out of dissatisfaction with the classical subjects and painting techniques
of the Académie des Beaux-Arts in Paris, which set French art standards.
Rejecting these standards, impressionists painted outside, choosing landscapes,
street scenes, and figures from everyday life. Impressionists were concerned
more with the effects of light on an object than with exact depiction of
form. Using short brushstrokes, they juxtaposed primary and complementary
colors, which blended in brilliant hues and luminous tones when viewed
from a distance.
Édouard Manet, sometimes
called the first impressionist, demonstrated that light could be shown
in painting by juxtaposing bright, contrasting colors, rather than by shading
with intermediary tones. The various impressionists developed individual
styles but, as a group, benefited from their common experiments in color.
Claude Monet painted many series of studies, each done at different times
of the day and in different seasons. Camille Pissarro used a subdued palette
and concentrated equally on the effects of light and on the structure of
forms. Edgar Degas caught the fleeting moment,
especially in ballet and horse-racing scenes. Pierre Auguste Renoir preferred
to paint the female form. Berthe Morisot painted subtle landscapes that
gained strength from brushwork rather than color.
French impressionism influenced artists throughout the world, including American J. A. M. Whistler, Englishman Walter Sickert, Italian Giovanni Segantini, and Spaniard Joaquín Sorolla. Impressionism also affected the development of painting. Painters who began as impressionists created other techniques that started new movements in art, including pointillism, postimpressionism, cubism, and expressionism.
Music
French composer Claude Debussy
led the impressionist movement in music. Musical impressionism emphasized
tonal color and mood rather than formal structure such as that found in
sonatas and symphonies. Debussy, combining new and ancient musical devices,
used the whole-tone scale and the complex intervals of the ninth and higher,
and he returned to the parallel fourth and fifth intervals of the medieval
church modes. French impressionist music continued to develop in the work
of Maurice Ravel. Other impressionist composers were Frederick Delius and
Ralph Vaughan Williams in England, Ottorino Respighi in Italy, and Manuel
de Falla in Spain.
Initiation is a creative response
to the shock of the unknown. Since SHOCK disconnects us, how do we reconnect
and where do we begin? One creative way to respond to shock is by reconnecting
ourselves to new habits and routines which increase our intelligence and make
us happy. During the phase of our disconnection, we are perhaps most vulnerable
to impressions and suggestions from ourselves and others. It is during this
time that new directions may be initiated and crystallized when the 'gap of
our death' eventually closes down again and we stabilize. ... If we are naive
to this effect and don't reconnect ourselves creatively, we lapse back even
deeper into our previous habits... like them or not. - Antero
Alli
noosphere
- Term from Teilhard
de Chardin's evolutionary
theory. The expanding omnidimensional
structure of all reality-labyrinths
on this planet; sum total of all human thoughts, feelings and (apparent) sense
impressions.
 |
_The Ultimate Melody_ by Arthur
C. Clarke - This short story is about a scientist, Gilbert Lister, who develops
the ultimate melody--one that so compels the brain that its listener becomes
completely and forever enraptured by it. As the storyteller, Harry Purvis, explains,
Lister theorized that a great melody "made its impression on the mind because
it fitted in with the fundamental electrical
rhythms going on in the brain". Lister attempts to abstract from the hit
tunes of the day to a melody which fits in so well
with the electrical rhythms that it dominates them completely. He succeeds...and
is found in a catatonia from which he never awakes.
 |
(55:02)(38.7megs)
by Alan
Watts |
taoism,
there is no difference between you as observer, and whatever it is you observe...
the only thing that is you, is the observation of life from a
certain point of view... i said a little while ago, you think your heads
are empty and blank, but the actual inside of your head is felt in terms of
everything you see on the outside... we make an opposition you see, between
the thinker and the thought, the experiencer and the experience, the knower
and the known. because we think about knowledge in terms of certain metaphors.
the metaphor of the stylus on the writing sheet, the reflection on the mirror,
all those sort of images come into our idea of knowledge... but in the taoist
theory of knowledge it is quite different. there isn't a knower FACING
the known. it would be more like, say, that if there is any knower at
all, it contains the known. your mind, if you have one, is not in
your head. your head is in your mind. because your mind understood
from the standpoint of vision, his space. the chinese use this word 'ku'
which means 'sky', 'space', and sometimes 'emptiness'... and there is a saying
that form, or shape and color, and this, are said to be identical. space
or emptiness is precisely shape/color and shape/color is precisely emptiness.
this is actually a buddhist saying from the Treidia Sutra... so that all that
we call space contains the myriads of shapes and colors and bodies and weights
and so on... it doesn't reflect them as a mirror, but it is the absence which
guarantees their presence, and it is their presence which guarantees their absence.
so there is this mutual relationship again, the mutual arising expression between
voidness and form, between existence and non-existence, being and non-being...
these are never felt as alternatives or things that are in some kind of contest.
so then, when it is said that there is NOT any thinker behind thoughts, not
any experiencer who has experiences... this is a way of saying that experiencing,
knowing, is not an encounter between strangers. western thought concentrates
very much on knowledge as an encounter.
and it is thus that we talk about 'facing facts', 'facing reality',
as if somehow or other the knower and the known came from two completely different
worlds and met each other like that... whereas actually the phenomenon of knowledge
is almost the precise opposite of that. instead of being a collision between
two wandering bodies in space, knowledge is much more like the expansion of
a flower from the stem and the bud. where the opposite points of the flower
are the knower and the known... they are the terms of something which as it
were, lies between them. let me repeat... we tend, in all our metaphors
and common speech, to think of life as an encounter between the knowing human,
the knowing mind, and the world. they think of it, not as an encounter
but as an expression, not an impression. an expression... of a process
that has polarized itself. coming out from a center, and expressed itself
in terms of opposites... of course this is the basis of the whole yan/ying
principle..."
trance
track _Impression_ MP3
by Resistance D
by The Descendents off of _All_ 12"
on SST (1987)hardcore
punk track _Your Uniform (Does Not Impress
Me!)_ MP3 (160k)
by Atari
Teenage Riot off of _60 Second Wipeout_ 12"x2 on Digital
Hardcore Recordings #020 (1999)/Have
U Heard The Tape?_ 7" released in Japan
by Make Up
by Mateo Murphy off of _Relentless Beats Vol. 1 MixCD by Misstress Barbara
on Moonshine (2001)
by Ultratubes off of _Nektar_ CD on Planet Vision #008
(1997)Dub)_
MP3 (192k)
by Solar
Stone off of _The Impressions (Disc 2) ep_ 12" on Hooj Toons #057 (1998)_Gypsy
Woman_ MP3 (320k)
by The Impressions
by Joshua Redman & Kenny Garrett off of _A Tribute To The Great Jazz Masters_
compilation (1995) punk
track _Hispanic Impressions_ MP3 (160k)
by Queens Of The Stone Age off of s/t on _Loose Groove_
(1998)drum
& bass track _Impressions (VIP Mix)(mixed 3:24)_ MP3 (192k)
by Pieter K off of _The Secret Art Of Science_ MixCD on Breakbeat Science
Recordings #001 (2001)/video
(vhs/ntsc)
off of _Let's Face It_ (1997)
off of _Fashion Impression Function_ CD on Archenemy Record Company #021
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