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1 " What I remember most clearly is how it felt. I’d just finished painting a red fire engine-like the one I often walked past near my grandparents’ house. Suddenly the teachers, whose names I've long forgotten, closed in on my desk. They seemed unusually impressed, and my still dripping fire engine was immediately and ceremoniously pinned up. I don’t know what they might have said, but their unexpected attention and having something I’d made given a place of honor on the wall created an overwhelming and totally unfamiliar sense of pride inside me. I loved that feeling, and I wanted to feel it again and again. That desire, I suppose, was the beginning of my career. I have no idea where my fire engine painting ended up, but I never forgot the basic layout. Several decades later, it served as the inspiration for this sketch for an illustration in a book called Why the chicken crossed the Road. "
2 " From an illustration in her " Animals of a Bygone Era" : a Leptictidium, an extinct rabbit-like animal who left no descendants, says: " Too bad, because we were really cute. "
3 " When a work of painting, music or other form attains two-way communication, it is truly art. One occasionally hears an artist being criticized on the basis that his work is too 'literal' or too 'common.' But one has rarely if ever heard any definition of 'literal' or 'common.' And there are many artists simply hung up on this, protesting it. Also, some avant-garde schools go completely over the cliff in avoiding anything 'literal' or 'common'—and indeed go completely out of communication! The return flow from the person viewing a work would be contribution. True art always elicits a contribution from those who view or hear or experience it. By contribution is meant 'adding to it.’ An illustration is 'literal' in that it tells everything there is to know. Let us say the illustration is a picture of a tiger approaching a chained girl. It does not really matter how well the painting is executed, it remains an illustration and it is literal. But now let us take a small portion out of the scene and enlarge it. Let us take, say, the head of the tiger with its baleful eye and snarl. Suddenly we no longer have an illustration. It is no longer 'literal.' And the reason lies in the fact that the viewer can fit this expression into his own concepts, ideas or experience: he can supply the why of the snarl, he can compare the head to someone he knows. In short, he can CONTRIBUTE to the head. The skill with which the head is executed determines the degree of response. Because the viewer can contribute to the picture, it is art. In music, the hearer can contribute his own emotion or motion. And even if the music is only a single drum, if it elicits a contribution of emotion or motion, it is truly art. "
― L. Ron Hubbard
4 " As mandatory reporting laws and community awareness drove an increase its child protection investigations throughout the 1980s, some children began to disclose premeditated, sadistic and organised abuse by their parents, relatives and other caregivers such as priests and teachers (Hechler 1988). Adults in psychotherapy described similar experiences. The dichotomies that had previously associated organised abuse with the dangerous, external ‘Other’ had been breached, and the incendiary debate that followed is an illustration of the depth of the collective desire to see them restored. Campbell (1988) noted the paradox that, whilst journalists and politicians often demand that the authorities respond more decisively in response to a ‘crisis’ of sexual abuse, the action that is taken is then subsequently construed as a ‘crisis’. There has been a particularly pronounced tendency of the public reception to allegations of organised abuse. The removal of children from their parents due to disclosures of organised abuse, the provision of mental health care to survivors of organised abuse, police investigations of allegations of organised abuse and the prosecution of alleged perpetrators of organised abuse have all generated their own controversies. These were disagreements that were cloaked in the vocabulary of science and objectivity but nonetheless were played out in sensationalised fashion on primetime television, glossy news magazines and populist books, drawing textual analysis. The role of therapy and social work in the construction of testimony of abuse and trauma. in particular, has come under sustained postmodern attack. Frosh (2002) has suggested that therapeutic spaces provide children and adults with the rare opportunity to articulate experiences that are otherwise excluded from the dominant symbolic order. However, since the 1990s, post-modern and post-structural theory has often been deployed in ways that attempt to ‘manage’ from; afar the perturbing disclosures of abuse and trauma that arise in therapeutic spaces (Frosh 2002). Nowhere is this clearer than in relation to organised abuse, where the testimony of girls and women has been deconstructed as symptoms of cultural hysteria (Showalter 1997) and the colonisation of women’s minds by therapeutic discourse (Hacking 1995). However, behind words and discourse, ‘a real world and real lives do exist, howsoever we interpret, construct and recycle accounts of these by a variety of symbolic means’ (Stanley 1993: 214). Summit (1994: 5) once described organised abuse as a ‘subject of smoke and mirrors’, observing the ways in which it has persistently defied conceptualisation or explanation. "
― , Organised Sexual Abuse
5 " Just because Eve does not speak does not mean she does not think. Or want. Or wonder. Just because Eve says very little in this story does not mean she is passive and dumb. Isn't it just as likely that she was a curious, growing being full of ideas and questions with no one to talk to? I imagine her left alone, bursting with curiosity and imagination, exploring the peripheries of the garden, delving into the mystery of the forbidden and the secret, far from center stage. How else could she have run into a character like the serpent?[......]It seems obvious that the serpent would choose Eve to talk to and not Adam, because the serpent could sense that Eve was craving dialogue. The serpent, with its sharp intellect, its curiosity and knowledge, becomes a psuedo-G-d, opening Eve's eyes to possibilities that exist only in her dormant imagination. The serpent is referred to as male, but perhaps it is more interesting to imagine it as Lilith in disguise. Though it was probably meant to show Lilith's satanic nature, an illustration in a sixteenth-century text does show Lilith with the body of a snake tempting Eve. The serpent seems to have some Lilith-like qualities: a powerful gift of speech, an intimate knowledge of G-d, a quality of defiance and a strength of will- surprising in an ideal garden. I like the picture this makes- While G-d teaches Adam about planting and sowing, Lilith teaches Eve about power and freedom. "
6 " But such is the nature of man that as soon as you begin to force him to do a thing, from that moment he begins to seek ways by which he can avoid doing the thing you are trying to force upon him. A man with malaria parasites in his blood is a danger to his companions. To kill all the parasites, he was then required to continue doses of quinine a week or ten days after his fever. When the convalescing men were given their daily dose of quinine they would manage to throw their tablets out of the dispensary window. The old turkey-gobbler pet of the hospital gobbled up all the tablets he could find. He became so dissipated he finally developed a species of blindness caused by too much quinine. I cannot vouch for this, but I was often twitted with this story as an illustration of how the men were treating prophylactic quinine. "
― , Sanitation in Panama (Classic Reprint)