“A point which I want very much to establish is that the choice of these 'Readymade' was never dictated by aesthetic delectation. This choice was based on a reaction of visual indifference with at the same time a total absence of good or bad taste…. in fact a complete anesthesia. One important characteristic was the short sentence which I occasionally inscribed on the 'readymade'. That sentence instead of describing the object like a title was meant to carry the mind of the spectator towards other regions more verbal.”

1951 - 1968, Apropos of Ready Mades', 1961

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Marcel Duchamp66

French painter and sculptor 1887–1968

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“Tradition is only a readymade. It’s for us to make a new gesture—to use it as a reference, more as a starting point than conclusion. Of course, there are very different attitudes and interpretations about our past and our memory of it. And ours is never a complete one, but is broken. In China, but also in my practice.”

Ai Weiwei (1957) Chinese concept artist

2000-09, Escape from Propaganda, 2009

“Another aspect of the 'readymade' is its lack of uniqueness.... the replica of a 'readymade' delivering the same message; in fact nearly every one of the 'ready-made's existing today is not an original in the conventional sense.
Since the tubes of paint used by the artist are manufactured and ready made products we must conclude that all the paintings in the world are 'ready-made's aided' and also works of assemblage.”

Marcel Duchamp (1887–1968) French painter and sculptor

1951 - 1968, Apropos of Ready Mades', 1961

“It is very difficult to define what is meant by computer-aided design since the complete definition is, in fact, the sum and substance of the total project effort which has only begun. It is much easier to describe, what is not computer-aided design as we mean it.”

Douglas T. Ross (1929–2007) American computer scientist

Source: Computer-Aided Design: A Statement of Objectives (1960), p. 1.

“It was the sort of atmosphere of good humor which so often accompanies a total absence of good taste.”

Robert Sheckley book Victim Prime

Source: Victim Prime (1987), Chapter 48 (pp. 187-188)

“My father's views for me, which were to guide his choice of college, were twofold. He really wanted me to learn; to get a good education, not so much with the idea of my making my way in the world, as from the value which he had learned to set upon intellect…. He was fond of repeating the sentence in the Eton Latin grammar—" Concessi Cantabrigiam ad capiendum ingenii cultum…." This was the proverb which presided over my whole college life. Though often dimmed, it was never lost sight of, and however much I may have had to hate the grammar on other accounts, I think no other sentence of any book has had so large a share in moulding my mind and character as that one. It was then essential to my father's plans for me that the college to be selected for me should be one where the instruction given was reputed to be good.”

Mark Pattison (1813–1884) English author and Church of England priest

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“I knew it like destiny, and at the same time, I knew it as choice.”

Jeanette Winterson book Lighthousekeeping

Source: Lighthousekeeping

“If you want a title, what's wrong with Mr? If you have always been that, then why lose your title?
I have a title, which is the same one that I have always had.
But it's not political. I have a CBE, which I accepted very gratefully.”

Paul Scofield (1922–2008) English actor

On his refusal of a knighthood. <br class="br"> "Paul Scofield: Man for all seasons" http://news.bbc.co.uk/2/hi/entertainment/1092962.stm, BBC News (2000-12-30)

“There are some simple maxims […] which I think might be commanded to writers of expository prose. First: never use a long word if a short word will do. Second: if you want to make a statement with a great many qualifications, put some of the qualifications in separate sentences. Third: do not let the beginning of your sentence lead the reader to an expectation which is contradicted by the end.”

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

"How I Write", The Writer, September 1954
1950s

“The problem of postmodernism - how its fundamental characteristics are to be described, whether it even exists in the first place, whether the very concept is of any use, or is, on the contrary, a mystification - this problem is a t one and the same time an aesthetic and political one.”

Fredric Jameson (1934) American academic

Source: Postmodernism: Or, The Cultural Logic of Late Capitalism (1991), Chapter 2: Theories of the Postmodern

“.. the thing was to choose one [a ready-made object] that you were not attracted by.... and that was difficult because anything becomes beautiful if you look at it long enough... [My intention was to] completely eliminate the existence of taste, bad or good or indifferent.”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote from The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, p. 164
posthumous

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