Word: abstracted
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Dates: during 1950-1959
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...Secretary of State had written of Stalin's Problems of Leninism, "starts with an atheistic, godless premise. Everything else flows from that premise. If there is no God, there is no moral or natural law . . . Since there is no moral law, there is no such thing as abstract right or justice. Laws are the means, the decrees, by which the dictatorship of the proletariat enforces its will 'for suppressing the resistance of its class enemies' . . . There is a duty to extend this system to all the world...
...would like to correct a possible impression that my Lowell Lecture of March 24 was devoted primarily to pronouncements on news of the day. The entire emphasis of that lecture--as of all six--was on an abstract analysis of the role of threats in bargaining and the concept of bargaining power; I did nothing so exciting as "weigh the Berlin crisis," as your headline indicated. As a matter of fact, I would not agree with the opinions attributed to me in your article...
During the first stage of my absorption in Tapies' tricky abstract art form, I could have sworn that his work suggested merely a "well-raked garden" in an ordinary Buddhist temple, as distinguished from a "Zen Buddhist temple," as he described it. Finally, however, I caught the subtle clue to Tapies' entire revelation. I saw that had Tapies but an ordinary Buddhist temple to suggest, he would have used only eleven parallel lines against a background of mud. Actually, he employed twelve such lines, the twelfth line, of course, signifying...
Special applause for your article on Dr. Bontzolakis [who says that his abstract-artist patients are either poseurs or neurotics-March 9]. Let's hope it will open the eyes of all the snobbish dilettanti who unwittingly promote and support insanity, encouraging those unfortunate ones to stay away from doctors and sanatoriums where they would have a chance to be cured...
...thing about Salemme's art is that it appears to be abstract and is not. He was a figurative painter, working with multihued geometric figures of his own invention and picturing them, precisely arranged, on vacuum-cleaned stage sets. His figures seem about to spring into action, like the Tin Woodman of Oz. They could not look more mute; yet they speak of the human condition. Vintage of Uncertainties cruelly evokes the uncertain aspects of motherhood. The Oracle delicately poses a horrendous question: Which is the Oracle? Who is to be believed...