“The objection to the shiny, highly polished surface of albumen and gelatine papers is that, besides the fact that the surface reflects false and disturbing lights, the very polish and gloss has an artificial appearance which, from its very superfine character, irresistibly reminds us of its origin and nature.”

Source: Practical Pictorial Photography, 1898, Printing methods and their bearing on pictorial photography, p. 71

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Alfred Horsley Hinton64

British photographer 1863–1908

Ken Kern American writer

The Owner Built Home: A How-to-do-it Book (1972)

“Each one of us [artists] has several facets. The surface often appears more important than what is inside, hence the errors of those who judge carelessly. How many times has that not happened to me! The surface is often complete in some people from the very beginning, but not the possession of their own sensations. From this come errors. Some natures achieve the surface very slowly j this is the least danger an artist runs. So one should not think of the surface or the appearance, but concentrate on what is inner!”

Camille Pissarro (1830–1903) French painter

Quote of Camille Pissarro, Eragny, 17 November 1890, in a letter to his son Lucien; from Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, pp. 139-140
1890's

“The principal subject is the surface, which has its color, its laws over and above those of object.”

Pierre Bonnard (1867–1947) French painter and printmaker

“The sculptor must learn to reproduce the surface, which means all that vibrates on the surface: spirit, soul, love, passion — life. … Sculpture is thus the art of hollows and mounds, not of smoothness, or even polished planes.”

Auguste Rodin (1840–1917) French sculptor

In; Victor Frisch, ‎Joseph Twadell Shipley (1939). Auguste Rodin. p. 203: About the act of creation.
1900s-1940s

“From behind the Iron Curtain, there are signs that tyranny is in trouble and reminders that its structure is as brittle as its surface is hard.”

Dwight D. Eisenhower (1890–1969) American general and politician, 34th president of the United States (in office from 1953 to 1961)

State of the Union Address to Congress http://www.eisenhower.archives.gov/avwebsite/PDF/54text.pdf (7 January 1954) <br class="br">1950s

“The first law is the same for both light and material bodies; they both move in a straight line, as long as they are not deflected by an outside force.
The second law is also the same as that governing the reflection of an elastic ball from an impenetrable surface. Mechanics shows that such a ball is reflected from such a surface so that its angle of reflection equals its angle of incidence, as observed for light.
But the third law still requires a plausible explanation. The passage of light from one medium to another exhibits behavior that is totally different from a ball moving through different media.”

Pierre Louis Maupertuis (1698–1759) French mathematician, philosopher and man of letters

Accord de différentes loix de la nature qui avoient jusqu’ici paru incompatibles (1744)

“I consider an human soul without education like marble in the quarry, which shews none of its inherent beauties till the skill of the polisher fetches out the colours, makes the surface shine, and discovers every ornamental cloud, spot and vein that runs through the body of it.”

Joseph Addison (1672–1719) politician, writer and playwright

No. 215 (6 November 1711).
The Spectator (1711–1714)

“While it is becoming increasingly obvious that the fundamental architecture of a system has a profound Influence on the quality of its human factors, the vast majority of human factors studies concern the surface of hardware (keyboards, screens) or the very surface of the software”

Lewis M. Branscomb (1926) physicist and science policy advisor

command names, menu formats
L.M. Branscomb, J.C. Thomas (1984) "Ease of use: a system design challenge". in: IBM Systems Journal. Vol 23.3, Sept 1984. Pages 224-235

“The surfaces of three-dimensional space are distinguished from each other not only by their curvature but also by certain more general properties. A spherical surface, for instance, differs from a plane not only by its roundness but also by its finiteness. Finiteness is a holistic property. The sphere as a whole has a character different from that of a plane. A spherical surface made from rubber, such as a balloon, can be twisted so that its geometry changes…. but it cannot be distorted in such a way as that it will cover a plane. All surfaces obtained by distortion of the rubber sphere possess the same holistic properties; they are closed and finite. The plane as a whole has the property of being open; its straight lines are not closed. This feature is mathematically expressed as follows. Every surface can be mapped upon another one by the coordination of each point of one surface to a point of the other surface, as illustrated by the projection of a shadow picture by light rays. For surfaces with the same holistic properties it is possible to carry through this transformation uniquely and continuously in all points. Uniquely means: one and only one point of one surface corresponds to a given point of the other surface, and vice versa. Continuously means: neighborhood relations in infinitesimal domains are preserved; no tearing of the surface or shifting of relative positions of points occur at any place. For surfaces with different holistic properties, such a transformation can be carried through locally, but there is no single transformation for the whole surface.”

Hans Reichenbach (1891–1953) American philosopher

The Philosophy of Space and Time (1928, tr. 1957)

“I like working on sponge because it's a simple, light material and always ready to use. The colour and texture meet my aesthetic requirements and it has a lolof volume and physically, is very present in the space. The ink or paint is immediately absorbed into the foam surface, making any corrections almost impossible. It is a material which lends itself to quick, fast application and is particularly good for spontaneous sketching with paint squeezed directly from the tube. The fact that these works will not last (sponge is not a very durable material) does not deter me; it suits the character of the work very well and to an extent reflects my ideas about art.”

Tomasz Vetulani (1965) Polish artist

At the time of writing exhibition catalogue, the Center for Contemporary Art Ujazdowski Castle in Warsaw, 1998.

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Alfred Horsley Hinton64

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