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In the writings based on factual incidents, space and time are the relevant factors when describing it in the view of making it into a historical action. Also the background of the writer, the writer’s wisdom on the particular issue describing and the writer’s ability on narration of incidents accurately bound to space and time, his psychological attitude towards the happenings in his surroundings most of the time without his own involvement are certain elements of relevance here. Even though the historical happenings are of unique characteristics, and its nature of existence with similar altitude unchangingly forever, the sincere studious activities towards its objectiveness can establish the real time facts even to the future generations ever after centuries. When we engage in deep studies with curiosity and a special inborn interest towards art, the studious beings get a clear idea of the differences between factual incidences and documented evidences of incidents. These kinds of arrivals at falsely fabricated ideas on the historical scenarios, follows loss of believability on documentations and established versions of incidents. The process of historical development has attracted me because it is propagated to maintain time, space objectivity bound relations towards various objectivities. These are some of the factors that directed and confirmed my arrival at these kinds of creative destinations.
Excerpt from Essays on Indian Art, Industry Education The various Essays on Indian Art, Industry, and Education which are here reprinted, though mostly written some years ago, all deal with questions which continue to possess a living interest. The superstitions which they attempt to dispel still loom largely in popular imagination, and the reforms they advocate still remain to be carried out. Only last year Sir Henry Craik, M. P., in his book on India, revived the familiar Anglo-Indian legend that the Taj Mahal was the creation of a European architect. Hardly any serious attempt has been made in the last twenty-five years to make the departmental machinery of Government effective for the revival of Indian art and handicraft. Officialism in the Calcutta University has lately barred the way to further progress in art education over-riding the deliberate vote of the majority of the members of the Senate. Swadeshi politicians, with regard to India's industrial problems, have been content to follow behind commercial Europe, and multiply the evils which the factory system has already inflicted upon India. Knowing that the best artistic opinion of Europe is wholly on my side, and believing that the removal of departmental impediments to the progress of Indian art and industry are urgently called for, both for the sake of British prestige and in the interest of India herself, I offer no apology for putting my arguments before the Government and the public again and again, in season and out of season. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The creation of the Frankfurt School of critical theory in the 1920s saw the birth of some of the most exciting and challenging writings of the twentieth century. It is out of this background that the great critic Theodor Adorno emerged. His finest essays are collected here, offering the reader unparalleled insights into Adorno's thoughts on culture. He argued that the culture industry commodified and standardized all art. In turn this suffocated individuality and destroyed critical thinking. At the time, Adorno was accused of everything from overreaction to deranged hysteria by his many detractors. In today's world, where even the least cynical of consumers is aware of the influence of the media, Adorno's work takes on a more immediate significance. The Culture Industry is an unrivalled indictment of the banality of mass culture.
The essential collection of critical essays from a twentieth-century master and author of 1984. As a critic, George Orwell cast a wide net. Equally at home discussing Charles Dickens and Charlie Chaplin, he moved back and forth across the porous borders between essay and journalism, high art and low. A frequent commentator on literature, language, film, and drama throughout his career, Orwell turned increasingly to the critical essay in the 1940s, when his most important experiences were behind him and some of his most incisive writing lay ahead. All Art Is Propaganda follows Orwell as he demonstrates in piece after piece how intent analysis of a work or body of work gives rise to trenchant aesthetic and philosophical commentary. With masterpieces such as "Politics and the English Language" and "Rudyard Kipling" and gems such as "Good Bad Books," here is an unrivaled education in, as George Packer puts it, "how to be interesting, line after line." With an Introduction from Keith Gessen.
. Renewal of Life by Transmission. The most notable distinction between living and inanimate things is that the former maintain themselves by renewal. A stone when struck resists. If its resistance is greater than the force of the blow struck, it remains outwardly unchanged. Otherwise, it is shattered into smaller bits. Never does the stone attempt to react in such a way that it may maintain itself against the blow, much less so as to render the blow a contributing factor to its own continued action. While the living thing may easily be crushed by superior force, it none the less tries to turn the energies which act upon it into means of its own further existence. If it cannot do so, it does not just split into smaller pieces (at least in the higher forms of life), but loses its identity as a living thing. As long as it endures, it struggles to use surrounding energies in its own behalf. It uses light, air, moisture, and the material of soil. To say that it uses them is to say that it turns them into means of its own conservation. As long as it is growing, the energy it expends in thus turning the environment to account is more than compensated for by the return it gets: it grows. Understanding the word "control" in this sense, it may be said that a living being is one that subjugates and controls for its own continued activity the energies that would otherwise use it up. Life is a self-renewing process through action upon the environment.