“Arranging props in a scene such as this is a joy. With gravity on my side, everything at arms length and no arduous physical conditions constricting me, I can go for hours at a clip, sculpting piles of stuff into a landscape of intersecting shape, form and color until my eye wanders endlessly among the details. In such conditions, how the image is captured has little bearing on the success of the arrangement – though the time-saving work flow enabled by digital preview, capture and post processing, certainly helps.”

Source: Henri Cartier-Bresson: The Mind's Eye: Writings on Photography and Photographers

http://bardorecords.com/Bardo136.htm Press site for the album Temporal Analogues of Paradise (1995)

Kenneth Noland, p. 22
Conversation with Karen Wilkin' (1986-1988)

Source: 1961 - 1975, Barbara Hepworth, A Pictorial autobiography', 1970, p. 280

Source: Factotum (1975), Ch. 49, Henry Chinaski

Liner notes for Fratres; Biographical note http://www.musicianguide.com/biographies/1608003521/Arvo-P-auml-rt.html <br class="br">Context: Tintinnabulation is an area I sometimes wander into when I am searching for answers--in my life, my music, my work. In my dark hours, I have the certain feeling that everything outside this one thing has no meaning. The complex and many-faceted only confuses me, and I must search for unity. What is it, this one thing, and how do I find my way to it? Traces of this perfect thing appear in many guises--and everything that is unimportant falls away.

1905 - 1910, Notes of a Painter' (1908)

Source: Red Mars (1992), Chapter 4, “Homesick” (p. 205)