“Then I gathered the éléments of what people call my symbolism. I do not understand anything about long words and theories. But I am willing to be a symbolist, if that defines the ideas that Michael Angelo gave me, namely that the essence of sculpture is the modelling, the general scheme which alone enables us to render the intensity, the supple variety of movement and character. If we can imagine the thought of God in creating the world, He thought first of the construction, which is the sole principle of nature, of living things and perhaps of the planets. Michael Angelo seems to me rather to derive from Donatello than from the ancients; Raphaël proceeds from them. He understood that an architecture can be built up with the human body, and that, in order to possess volume and harmony, a statue or a group ought to be contained in a cube, a pyramid or some simple figure. Let us look at a Dutch interior and at an interior painted by an artist of the present day. The latter no longer touches us, because it docs not possess the qualities of depth and volume, the science of distances. The artist who paints it does not know how to reproduce a cube. An interior by Van der Meer is a cubic painting. The atmosphere is in it and the exact volume of the objects; the place of these objects has been respected, the modem painter places them, arranges them as models. The Dutchmen did not touch them, but set themselves to render the distances that separated them, that is, the depth. And then, if I go so far as to say that cubic truth, not appearance, is the mistress of things, if I add that the sight of the plains and woods and country views gives me the principle of the plans that I employ on my statues, that I feel cubic truth everywhere, and that plan and volume appear to me as laws of all life and ail beauty, will it be said that I am a symbolist, that I generalise, that I am a metaphysician? It seems to me that I have remained a sculptor and a realist. Unity oppresses and haunts me.”

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 65-67

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Auguste Rodin73

French sculptor 1840–1917

Charles Hartshorne (1897–2000) Philosopher

The Logic of Perfection and Other Essays in Neoclassical Metaphysics (1962) p. viii.

“I used to worship the mighty genius of Michael Angelo — that man who was great in poetry, painting, sculpture, architecture — great in every thing he undertook. But I do not want Michael Angelo for breakfast — for luncheon — for dinner — for tea — for supper — for between meals. I like a change, occasionally.”

Mark Twain book The Innocents Abroad

Source: The Innocents Abroad (1869), Ch. 27

“My objects are to be seen as stimulants for the transformation of the idea of sculpture.... or of art in general. They should provoke thoughts about what sculpture can be and how the concept of sculpting can be extended to the invisible materials used by everyone.
THINKING FORMS – how we mold our thoughts or
SPOKEN FORMS – how we shape our thoughts into words or
SOCIAL SCULPTURE – how we mold and shape the world in which we live:
Sculpture as an evolutionary process; everyone an artist.
That is why nature of my sculpture is not fixes and finished. Processes continue in most of them: chemical reactions, fermentations, color changes, delays, drying up. Everything is in a STATE of CHANGE.”

Joseph Beuys (1921–1986) German visual artist

Beuys' quote from Theory of Social Sculpture, 1979, as cited in: Chris Thompson. Felt: Fluxus, Joseph Beuys, and the Dalai Lama. 2011. p. 88-89
1970's

“We are servants of the Crown as well as servants of the people... I am not ashamed to say that in my old age I rejoice in any opportunity which enables me to testify that, whatever may be thought of my opinions, whatever may be thought of my proposals in general politics, I do not forget the service which I have borne for so many years to the illustrious representative of the British Monarchy.”

William Ewart Gladstone (1809–1898) British Liberal politician and prime minister of the United Kingdom

Speech https://api.parliament.uk/historic-hansard/commons/1889/jul/25/the-royal-grants#S3V0338P0_18890725_HOC_142 in the House of Commons (25 July 1889) <br class="br">1880s

“I believed before that (journey to Italy in 1875)… that movement was the whole secret of this art, and I put my models into positions like those of Michael Angelo. But as I went on observing the free attitudes of my models I perceived that they possessed thèse naturally^ and that Michael Angelo had not preconceived them, but merely transcribed them according to the Personal inspiration of human beings moved by the need of action. I went to Rome to look for what may be found everywhere : the latent heroic in every natural movement.”

Auguste Rodin (1840–1917) French sculptor

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 65

“[Messrs Ogden and Richards] will reply that they are considering the meaning of a "thought," not of a word. A "thought" is not a social phenomenon, like speech, and therefore does not have the two sides, active and passive, which can be distinguished in speech. I should urge, however, that all the reasons which led our authors to avoid introducing images in explaining meaning should have also led them to avoid introducing "thoughts." If a theory of meaning is to be fitted into natural science as they desire, it is necessary to define the meaning of words without introducing anything "mental" in the sense in which what is "mental" is not subject to the laws of physics. Therefore, for the same reasons for which I now hold that the meaning of words should be explained without introducing images – which I argued to be possible in the above-quoted passage – I also hold that meaning in general should be treated without introducing "thoughts," and should be regarded as a property of words considered as physical phenomena. Let us therefore amend their theory. They say: "'I am thinking of A' is the same thing as 'My thought is being caused by A.'" Let us substitute: "'I am speaking of A' is the same thing as 'My speech is being caused by A.'" Can this theory be true?”

Bertrand Russell (1872–1970) logician, one of the first analytic philosophers and political activist

1920s, Review of The Meaning of Meaning (1926)

“If I draw a conclusion, I act on an idea, on an image, on a symbol, which is the structure of thought, and so I am constantly preventing myself from having insight, from understanding things as they are.”

Jiddu Krishnamurti (1895–1986) Indian spiritual philosopher

On Mind and Thought (1993), p. 34
Posthumous publications
Context: It is astonishingly beautiful and interesting, how thought is absent when you have an insight. Thought cannot have an insight. It is only when the mind is not operating mechanically in the structure of thought that you have an insight. Having had an insight, thought draws a conclusion from that insight. And then thought acts and thought is mechanical. So I have to find out whether having an insight into myself, which means into the world, and not drawing a conclusion from it is possible. If I draw a conclusion, I act on an idea, on an image, on a symbol, which is the structure of thought, and so I am constantly preventing myself from having insight, from understanding things as they are.

“The models of management which individuals and organizations use come from a variety of sources. Sometimes the model comes from a theory. The theory may emerge from someone's thoughts about the desired characteristics of a manager, or about the characteristics of competent managers. Sometimes the model comes from a panel. A group of people, possibly in the job or at levels above the job within the organization, generates a model through discussion of what is needed to perform a management job competently.”

Richard Boyatzis (1946) American business theorist

Source: Competent manager (1982), p. 7.

“There's a place beyond words where experience first occurs to which I always want to return. I suspect that whenever I articulate my thoughts or translate my impulses into words, I am betraying the real thoughts and impulses which remain hidden.”

Jerzy Kosiński book The Painted Bird

Source: The Painted Bird

“That the universe, as was once thought, expands and contracts indefinitely, one Big Bang collapsing into another one, seemed reasonable enough. But in both models of the universe, what caused the first Big Bang? Or was there a first Big Bang, any more than a last number? If there was a first cause, was there a first causer? Did Big Bangs just happen to happen? Can we name the first causer “God”? We can name it anything we want. I can name it after myself. It is utterly insignificant what it is called, because we would be giving a name to something that falls outside all categories of thought and must be unknowable and irrelevant to knowledge. So naming it is a futile enterprise. The word “God” is unhelpful because it implies it has a knowable definition.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Source: Life Itself : A Memoir (2011), Ch. 54 : How I Believe In God

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