It is the nature of carnivores to get power and then, having disposed of their enemies, to deploy the emollient powers of Great Art to make themselves look like herbivores.

Nothing they design ever gets in the way of a work of art

Now that rates are moving up, we're seeing more aggressive offerings from banks.

Essentially, perspective is a form of abstraction. It simplifies the relationship between eye, brain and object. It is an ideal view, imagined as being seen by a one-eyed, motionless person who is clearly detached from what he sees. It makes a God of the spectator, who becomes the person on whom the whole world converges, the Unmoved Onlooker.

On the whole, money does artists much more good than harm. The idea that one benefits from cold water, crusts and debt collectors is now almost extinct, like belief in the reformatory power of flogging.

One gets tired of the role critics are supposed to have in this culture: It's like being the piano player in a whorehouse; you don't have any control over the action going on upstairs.

For the machine meant the conquest of horizontal space. It also meant a sense of that space which few people had experienced before – the succession and superimposition of views, the unfolding of landscape in flickering surfaces as one was carried swiftly past it, and an exaggerated feeling of relative motion (the poplars nearby seeming to move faster than the church spire across the field) due to parallax. The view from the train was not the view from the horse. It compressed more motifs into the same time. Conversely, it left less time in which to dwell on any one thing.