Discover the most popular and inspiring quotes and sayings on the topic of Modernity. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Modernity Quotes And Sayings by 97 Authors including Aleksandr Solzhenitsyn,Guillaume Faye,Jean-Francois Lyotard,Hugo Von Hofmannsthal,Gustave Le Bon for you to enjoy and share.
Today when we say the West we are already referring to the West and to Russia. We could use the word 'modernity' if we exclude Africa, and the Islamic world, and partially China.
We are returning to the archaic, that is, the eternal condition of mankind, which the brief parenthesis of 'modernity' made us forget, in other words, the rivalry of peoples, of ethnic and cultural blocs and of civilisations.
A work can become modern only if it is first postmodern. Postmodernism thus understood is not modernism at its end but in the nascent state, and this state is constant.
To be modern means to like antique furniture - and youthful neurosis.
The ideas of the past, although half destroyed, being still very powerful, and the ideas which are to replace them being still in process of formation, the modern age represents a period of transition and anarchy.
For many societies, the journey to modernity has been painful and costly.
Listen, To be modernize it doesn't mean to be rich in wealth or by status but to be rich in wisdom ... !
The eternal, not the modern, is what I love: the modern will be antiquated and grotesque in ten years, when the fashion passes. - MIGUEL DE UNAMUNO
A hostility to modernity is shared by ideologies that have nothing else in common - a nostalgia for moral clarity, small-town intimacy, family values, primitive communism, ecological sustainability, communitarian solidarity, or harmonies with the rhythms of nature.
Modernity is a busy place, spinning with silicon speed that goes ever faster but never forward, people pressed into cities full of loneliness.
Very often we call something modern because we do not know what is ancient; many so-called "modern" ideas are really old errors with new labels.
Modern man has left the realm of the unknown and the mysterious, and has settled down in the realm of the functional. He is turned is back to the world of the foreboding and the exulting and has welcomed the world of boredom.
The time and moment of Ancient and Medieval is gone, a new change is sought from within by the lifeforce a moment that is for NOW and not holding on the Past which though Primordial is eternally in the present living for the Future.
I'm a modern man, a man for the millennium, digital and smoke-free. A diversified multicultural postmodern deconstructionist. Politically, anatomically, and ecologically incorrect.
For members of a traditional society where many traditions have been discredited, an interest in modernity can result in a restless sophistication. Mehmet Ertegun seems not to have been a restless man.
This book is my response to these developments: It is an appreciation of the flourishing that was the humanistic treasure of the modern era. It is also a plea to restore what has been lost and not to reject out of hand the modern values that inspired the broad prosperity of modern societies.
Originality' is the sickness of modernity that wishes to see itself as something new, always new, in order continually to witness its own birth. In doing so, modernity is that fashionable illusion which only speaks to death
History ... a release from the troublesome promiscuous present.
America is the original version of modernity. We are the dubbed or subtitled version. America ducks the question of origins; it cultivates no origin or mythical authenticity; it has no past and no founding truth. Having known no primitive accumulation of time, it lives in a perpetual present.
Art cannot be modern. Art is primordially eternal.
Ours is an age between worldviews, creative yet disoriented, a transitional era when the old cultural vision no longer holds and the new has not yet constellated. Yet we are not without signs of what the new might look like
Another factor that seems to me to be equally important is the great myth and rationale of 'the modern,' that it places dynamite at the foot of old error and levels its shrines and monuments. Contempt for the past surely accounts for a consistent failure to consult it.
To be "modern" means refusing to worry about where the benefits of progress actually come from.
It is a Modern day, and these times need Modern solutions to Modern problems.
Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern.
We are so Post-Modern that we don't realize how Post-Modern we are anymore.
We live in an age disturbed, confused, bewildered, afraid of its own forces, in search not merely of its road but even of its direction
The end of culture is right living
The tradition of the new. Yesterday's avant-gard-experiment is today's chic and tomorrow's cliche.
Contemporary' was in those days [1953] synonymous with 'modern' as it had not been before and is not now [1977].
No doubt Western modernity has its limitations and discontents. Still, it is far better than the known alternatives - not only, or even primarily, because of its advanced technology but because of its fundamental commitment to freedom, reason, and human dignity.
What we witness at the fea is not just a celebration of the multiplicity of modernities but also, and more importantly, a critical commentary on local structures of inequality that take for granted that both tradition and modernity are the prerogatives of the high ranking and wealthy.
You can't really separate modernity from history or spiritual concerns from mundane ones. Everything feeds into everything else.
As countries grapple with modernization, people who are left behind tend to hold firmer and firmer to their view of the evil of modernity.
I am not a modern man, I am just a wee old fashioned one.
This grandiose tragedy that we call modern art.
Since the end of the Cold War, metropolitan elites everywhere have identified progress and modernity with the cornucopia of global capitalism, the consolidation of liberal democratic regimes and the secular ethic of consumerism.
A world in everlasting conflict between the new idea and the old allegiances, new arts and new inventions against the old establishment.
I have confronted theoretical positions whose protagonists claim that what I take to be historically produced characteristics of what is specifically modern are in fact the timelessly necessary characteristics of all and any moral judgment, of all and any selfhood.
The modern spirit is the genius of Greece with the genius of India for its vehicle; Alexander upon the elephant.
The values we rightly associate with the modern age - the "liberty, equality, and fraternity" of the French revolution - are all endangered today not by the dead hand of tradition but by modernity itself, and they can be salvaged only by moving beyond it.
I want everyone to wear what they want and mix it in their own way. That, to me, is what is modern.
... Modern life is always experienced as a struggle: to impose one's individuality on the world, one has to work against the fabric of modern culture itself and uphold ultimate values in the face of purely instrumental and ever more 'rational' forces.
A great deal has been written about the forthrightness of the moderns shocking the Victorians, but there is no shock like the one which the forthrightness of the Victorians can give a modern.
This modernizing experiment seems to have something diabolic about it. Everything that was becomes rejected in the name of a modernity that assumes the nature of a fiction, an illusion, a devilish apparition. To a greater or lesser extent this applies to all the postcommunist countries.
triumphantly digitized contemporaneity'?
You are remarkably modern, Mabel. A little too modern, perhaps. Nothing is so dangerous as being too modern. One is apt to grow old-fashioned quite suddenly.
The time we are living in has its own conditions, peculiarities and standards
America was born modern; it did not have to achieve modernity, nor did it have modernity thrust upon it.
The modern world, a world which has experienced marvelous achievements but which seems to have lost its sense of ultimate realities and of existence itself.
Let us see as steadily and completely as possible the realities of our age: the wasted lives, the scattered and misused resources (human and material), the steel magic of the misdirected machinery, the mad clockwork tragedy of it all.
Make it new is the message not just of modern art but of modern consumerism, of which modern art is largely a mirror image.
The modern masters promise very little
Culture is a slingshot moved by the force of its past
We are never as modern, as far ahead of the past as we like to think we are.
I love contemporary culture. Even the stuff I don't like.
When we let go of yearning for the future, preoccupation with the past, and strategies to protect the present, there is nowhere left to go but where we are. To connect with the present moment is to begin to appreciate the beauty of true simplicity.
The modern spirit is a hesitant one. Spontaneity has given way to cautious legalisms, and the age of heroes has been superseded by a cult of specialization. We have no more giants; only obedient ants.
The key imperatives of modernity: freedom of conscience, tolerance of difference, equality of the sexes, and an investment in life before death.
Modern man lives increasingly in the future and neglects the present.
The first discipline modernity's originators imposed upon themselves was that of self-restraint, learning to live with vulgarity. Their high expectations for effectiveness were made possible by low expectations of what was to be.
The scientific and societal achievements of the modern age are undisputable. But after the French Revolution, modernity increasingly emancipated itself from Christian roots, thereby becoming rootless itself.
When I think of the library of Alexandria and of the fact that, although it burnt down, people continue to sort the letters of the alphabet according to that tradition, then that makes certain expressions of modernity, even of interventions on the textual level, possible.
Modernity widened the distance between the sensational and the relevant.
The Times are the masquerade of the eternities; trivial to the dull, tokens of noble and majestic agents to the wise; the receptacle in which the Past leaves its history; the quarry out of which the genius of today is building up the Future.
I don't know much about modern art, but I guess I am modern art.
My music is not modern, it is merely badly played
Modern man is a hard driven nomad without any stability, not (as the Bible has it) a wanderer or a pilgrim, but a refugee-an escapist. Instead of meditation and reflection there is only speed, fear and distraction.
Modernity starts with the state monopoly on violence, and ends with the state's monopoly on fiscal irresponsibility.
Many modern artists, philosophers, and theologians reject the knowledge of the past. Thus they must continually start over again from ground zero, their vision restricted to their own narrow perspectives, making themselves artificially primitive.
Whenever we moderns pause for a moment, and enter the silence, and listen very carefully, the glimmer of our deepest nature begins to shine forth, and we are introduced to the mysteries of the deep, the call of the within, the infinite radiance of a splendor that time and space forgot
Knowledge Qf history frees us to be contemporary.
People tend to believe that to be modern you have to disengage from your heritage, but it's not true.
Be yourself, be in the moment, you're going to be modern
[O]urs is a culture of the perpetual present, one that deliberately severs itself from the past that created us as well as the future we are shaping with our actions.
Nowness or the magic of the present moment is what joins the wisdom of the past with the present
Modern life. Where are we running? Sometimes what we want is not always where we are ... Are we alone? Is the real winter inside our hearts? We are all struggling for definition in a world that resists our increase.
The history of modern art is also the history of the progressive loss of art's audience. Art has increasingly become the concern of the artist and the bafflement of the public.
All history is modern history.
[ ... ] to be absolutely modern means: never to question the content of modernity and to serve it as one serves the absolute, that is, without hesitation.
Cinema is, of course, the great storytelling medium of modernity.
... is postmodernity the pastime of an old man who scrounges in the garbage-heap of finality looking for leftovers, who brandishes unconsciousnesses, lapses, limits, confines, goulags, parataxes, non-senses, or paradoxes, and who turns this into the glory of his novelty, into his promise of change?
Man, living, feeling man, is the easy sport of the over-mastering present.
High culture is nothing but a child of that European perversion called history, the obsession we have with going forward, with considering the sequence of generations a relay race in which everyone surpasses his predecessor ...
For anyone who understood the essence of modernism based on and originating in the secularizing and humanistic tendencies of the European Renaissance, it was easy to detect the confrontation that was already taking place between traditional and modern elements in the Islamic world.
This so-called contemporary art is not a form, but a philosophy of society,
The revolutionary idea that defines the boundary between modern times and the past is the mastery of risk: the notion that the future is more than a whim of the gods and that men and women are not passive before nature.
The "modern man" has "come of age" as a deadly serious adult, conscious of his sufferings and alienations but not of joy, of sex but not of love, of science but not of "mystery.
The contemporary thing in art and literature is the thing which doesn't make enough difference to the people of that generation so that they can accept it or reject it.
One epoch's "popular culture" is another's esoterica.
I look at modern life and I see people not taking responsibility for their lives. The temptation to blame, to find external causes to one's own issues is something that is particularly modern. I know that personally I find that sense of responsibility interesting.
The modern university is the institution through which the next generation's elite is formed. It inculcates the two essential, nonnegotiable principles of the American ruling class: consumerism and relativism.
The modern position seems only another manifestation of egotism, which develops when man has reached a point at which he will no longer admit the rights to existence of things not of his own contriving.
Freedom is in the Now
In a revolutionary epoch, sometimes men taste every novelty, sicken of them all, and return to ancient principles so long disused that they seem refreshingly hearty when they are rediscovered.
The very shaping of history now outpaces the ability of men to orient themselves in accordance with cherished values. Even when they do not panic men often sense that older ways off feeling and thinking have collapsed and that newer beginnings are ambiguous to the point of stasis.
There is an old and a new consciousness of the age. The old one is directed towards the individual. The new one is directed towards the universal. The struggle of the individual against the universal may be seen both in the world war and in modern art.
We must understand the motives and forces of our time and analyze their structure from three points of view: the material, the functional, and the spiritual. We must make clear in what respects our epoch differs from others and in what respects it is similar.
Mentioning 'our days' as people of limited intelligence are fond of doing, imagining that they have discovered and appraised the peculiarities of 'our days' and that human characteristics change with the times ...
The everyday was king. And the courtiers were popularization, superficiality, doubt, cynicism. The century was exhausted.