James Graham Ballard cytaty

James Graham Ballard Fotografia
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James Graham Ballard

Data urodzenia: 15. Listopad 1930
Data zgonu: 19. Kwiecień 2009

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James Graham Ballard – brytyjski powieściopisarz, nowelista i eseista, w latach 50. i 60. Do najlepiej znanych jego dzieł należy kontrowersyjna powieść Kraksa oraz autobiograficzna Imperium Słońca ; obie zostały zekranizowane.

Na język polski utwory J. G. Ballarda tłumaczył m.in. Lech Jęczmyk.

Cytaty James Graham Ballard

„The human body as an obedient coolie, to be fed and hosed down“

— J. G. Ballard
Context: The human body as an obedient coolie, to be fed and hosed down, and given just enough sexual freedom to sedate itself. "Dr. Wilder Penrose"

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„I think we are moving into extremely volatile and dangerous times, as modern electronic technologies give mankind almost unlimited powers to play with its own psychopathology as a game.“

— J. G. Ballard
Context: For the sake of my children and grandchildren, I hope that the human talent for self-destruction can be successfully controlled, or at least channelled into productive forms, but I doubt it. I think we are moving into extremely volatile and dangerous times, as modern electronic technologies give mankind almost unlimited powers to play with its own psychopathology as a game. "JG Ballard: Theatre of Cruelty" interview by Jean-Paul Coillard in Disturb ezine (1998)

„Human beings today … are surrounded by huge institutions we can never penetrate“

— J. G. Ballard
Context: Human beings today … are surrounded by huge institutions we can never penetrate: the City [London's Wall Street], the banking system, political and advertising conglomerates, vast entertainment enterprises. They've made themselves user friendly, but they define the tastes to which we conform. They're rather subtle, subservient tyrants, but no less sinister for that. "Kafka in the Present Day", originally published in [London] Sunday Times (1983)

„Art is the principal way in which the human mind has tried to remake the world in a way that makes sense.“

— J. G. Ballard
Context: Art is the principal way in which the human mind has tried to remake the world in a way that makes sense. The carefully edited, slow-motion, action replay of a rugby tackle, a car crash or a sex act has more significance than the original event. Thanks to virtual reality, we will soon be moving into a world where a heightened super-reality will consist entirely of action replays, and reality will therefore be all the more rich and meaningful. [http://www.jgballard.ca/interviews/colliard_interview_1998.html "JG Ballard: Theatre of Cruelty" interview by Jean-Paul Coillard in Disturb ezine (1998)]

„The same trend can be seen in personal relationships, in the way people are expected to package themselves, their emotions and sexuality in attractive and instantly appealing forms.“

— J. G. Ballard
Context: All over the world major museums have bowed to the influence of Disney and become theme parks in their own right. The past, whether Renaissance Italy or ancient Egypt, is reassimilated and homogenized into its most digestible form. Desperate for the new, but disappointed with anything but the familiar, we recolonise past and future. The same trend can be seen in personal relationships, in the way people are expected to package themselves, their emotions and sexuality in attractive and instantly appealing forms. Notes to The Atrocity Exhibition (1970; written 1967 - 1969, annotated 1990)

„People are locking their doors and switching off their nervous systems.“

— J. G. Ballard
Context: Town-scapes are changing. The open-plan city belongs in the past — no more ramblas, no more pedestrian precincts, no more left banks and Latin quarters. We're moving into the age of security grilles and defensible space. As for living, our surveillance cameras can do that for us. People are locking their doors and switching off their nervous systems. "Bobby Crawford"

„By the logic of the high-rise those most innocent of any offence became the most guilty“

— J. G. Ballard
Context: The untruth of the accusation, which they all knew well, only served to reinforce it... By the logic of the high-rise those most innocent of any offence became the most guilty. Ch. 13

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„Twenty years ago no one could have imagined the effects the Internet would have“

— J. G. Ballard
Context: Twenty years ago no one could have imagined the effects the Internet would have: entire relationships flourish, friendships prosper…there’s a vast new intimacy and accidental poetry, not to mention the weirdest porn. The entire human experience seems to unveil itself like the surface of a new planet. As quoted in "Age of unreason" by Jeannette Baxter in The Guardian (22 June 2004)

„I would sum up my fear about the future in one word: boring.“

— J. G. Ballard
Context: I would sum up my fear about the future in one word: boring. And that's my one fear: that everything has happened; nothing exciting or new or interesting is ever going to happen again … the future is just going to be a vast, conforming suburb of the soul. Interview (30 October 1982) in Re/Search no. 8/9 (1984)

„For the writer in particular it is less and less necessary for him to invent the fictional content of his novel. The fiction is already there. The writer's task is to invent the reality.“

— J. G. Ballard
Context: We live in a world ruled by fictions of every kind — mass merchandising, advertising, politics conducted as a branch of advertising, the instant translation of science and technology into popular imagery, the increasing blurring and intermingling of identities within the realm of consumer goods, the preempting of any free or original imaginative response to experience by the television screen. We live inside an enormous novel. For the writer in particular it is less and less necessary for him to invent the fictional content of his novel. The fiction is already there. The writer's task is to invent the reality. "Introduction" to the French edition (1974) of Crash (1973); reprinted in Re/Search no. 8/9 (1984)

„These days adolescence stretches much further into adulthood than it used to. There's no longer any encouragement to be mature.“

— J. G. Ballard
Context: I began to become an adult when I was 24 and got married and had children. That matures you, but I wouldn't say I was fully an adult until I was in my forties. The trouble with the whole adult debate is that if you're asking 18-year-olds to go out and fight wars for you then you can't deny them adult rights even though in sorts of other ways they wouldn't qualify until they were about 25. These days adolescence stretches much further into adulthood than it used to. There's no longer any encouragement to be mature. As quoted in Elevator Music (1994) by Joseph Lanza

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„Perhaps they resent never having had a chance to become perverse“

— J. G. Ballard
Context: It's a mistake to imagine now we're all moving towards a state of happy primitivism. The model here seems to be less the noble savage than our un-innocent post-Freudian selves, outraged by all that over-indulgent toilet-training, dedicated breast-feeding and parental affection – obviously a more dangerous mix than anything our Victorian forebears had to cope with. Our neighbours had happy childhoods to a man and still feel angry. Perhaps they resent never having had a chance to become perverse. Ch. 11

„I think the 20th century reaches its highest expression on the highway. Everything is there: the speed and violence of our age; the strange love affair with the machine, with its own death.“

— J. G. Ballard
Context: I think the key image of the 20th century is the man in the motor car. It sums up everything: the elements of speed, drama, aggression, the junction of advertising and consumer goods with the technological landscape. The sense of violence and desire, power and energy; the shared experience of moving together through an elaborately signalled landscape. We spend a substantial part of our lives in the motor car, and the experience of driving condenses many of the experiences of being a human being in the 1970s, the marriage of the physical aspects of ourselves with the imaginative and technological aspects of our lives. I think the 20th century reaches its highest expression on the highway. Everything is there: the speed and violence of our age; the strange love affair with the machine, with its own death. Narration for Crash! (1971), a short film by Harley Cokeliss

„Our governments are preparing for a future without work, and that includes the petty criminals. Leisure societies lie ahead of us... People will still work — or, rather, some people will work, but only for a decade of their lives.“

— J. G. Ballard
Context: Our governments are preparing for a future without work, and that includes the petty criminals. Leisure societies lie ahead of us... People will still work — or, rather, some people will work, but only for a decade of their lives. They will retire in their late thirties, with fifty years of idleness in front of them. … But how do you energize people, give them back some sense of community? A world lying on its back is vulnerable to any cunning predator. Politics are a pastime for a professional caste and fail to excite the rest of us. Religious belief demands a vast effort of imaginative and emotional commitment, difficult to muster if you're still groggy from last night's sleeping pill. Only one thing is left which can rouse people, threaten them directly and force them to act together. … Crime, and transgressive behavior — by which I mean all activities which aren't necessarily illegal, but provoke us and tap our need for strong emotion, quicken the nervous system and jump the synapses deadened by leisure and inaction. "Dr. Sanger"

„If their work is satisfying people don't need leisure“

— J. G. Ballard
Context: If their work is satisfying people don't need leisure in the old-fashioned sense. No one ever asks what Newton or Darwin did to relax, or how Bach spent his weekends. At Eden-Olympia work is the ultimate play, and play the ultimate work. "Dr. Wilder Penrose"

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