Bjarne Stroustrup: Evolving a language in and for the real world: C++ 1991-2006. ACM HOPL-III. June 2007., 2008-04-25, http://web.archive.org/web/20071120015600/http://www.research.att.com/~bs/hopl-almost-final.pdf, 2007-11-20 http://www.research.att.com/~bs/hopl-almost-final.pdf,
“I sat reading in these chairs and felt somehow, in an abstract rather than a religious way, that suffering shapes you. Not only my own religious thought, but that of my ancestors, affected me in some way. The thing we have as Jews is that it’s a wonderfully abstract religion. Images are not allowed, so it’s welcome to abstract thought.”
Jewish Chronicle interview http://thejc.com/home.aspx?ParentId=m14s150&AId=57994&ATypeId=1&search=true2&srchstr=murray%20perahia&srchtxt=1&srchhead=1&srchauthor=1&srchsandp=1&scsrch=999 (8 February 2008)
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Murray Perahia 4
American classical pianist and conductor 1947Related quotes
“The shapes we are creating are not abstract, they are absolute.”
Quote of Naum Gabo (1937) Sculpture and Construction in Space, p. 109
1936 - 1977, Circle: International Survey of Constructive Art, 1937
“Americans have no capacity for abstract thought, and make bad coffee.”
As quoted in The Europeans (1984) by Luigi Barzini, p. 225
Post-Prime Ministerial
Quote, (August 1914); as quoted in Franz Marc, horses, ed. Christian von Holst, Hatje Cantz Publishers, (undated), 15 December 1914, p.34
by the outbreak of World War 1. in August 1914 the animals had disappeared in Marc's art. Only colours and forms – the abstract – had to evoke the spiritual]
1911 - 1914
Ich will lieber mit den meisten irren als auf meine Weise. So dachte Augustinus. Ich denke umgekehrt.
deschner.info http://www.deschner.info/de/person/zitate.htm
Fumito Ueda: Colossus in the Shadow https://medium.com/@SimonParkin/fumito-ueda-colossus-in-the-shadow-80e200a727dd (December 13, 2016)
in Henry Moore on Sculpture, James, Philip, New York: Viking Press, (1967), p. 68
1955 - 1970
1970 - 1986, Some Memories of Drawings (1976)
Context: It is surprising to me to see how many people separate the objective from the abstract. Objective painting is not good painting unless it is good in the abstract sense. A hill or tree cannot make a good painting just because it is a hill or a tree. It is lines and colours put together so that they say something. For me that is the very basis of painting. The abstraction is often the most definite form for the intangible thing in myself that I can only clarify in paint. … I found I could say things with color and shapes that I couldn't say any other way — things I had no words for.<!-- Also quoted in Georgia O’Keeffe: Nature and Abstraction (2007), edited by Richard Marshall, p. 13
October 21 (pp. 138-139)
A Night in the Lonesome October (1993)