“When I looked at the science of engineering and saw that it had disappeared after its ancient heritage, that its masters have perished, and that their memories are now forgotten, I worked my wits and thoughts in secrecy about philosophical shapes and figures, which could move the mind, with effort, from nothingness to being and from idleness to motion. And I arranged these shapes one by one in drawings and explained them.”

— Al-Muradi

Al-Muradi, The Book of Secrets in the Results of Ideas, 11th century; Translated and cited at leonardo3.net/bookofsecrets/index http://www.leonardo3.net/bookofsecrets/index_eng.html, 2015

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Al-Muradi 1

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“Looking through an aperture [a door or a window] is a way that I have been able to isolate or fragment a single form. My first memory of focusing through an aperture occurred when I was around twelve years old. One evening, passing the lighted window of a house. I was fascinated by red, blue and black shapes inside a room. But when I went up and looked in, I saw a red coach, a blue drape and a black table. The shapes had disappeared. I had to retreat to see them again.”

Ellsworth Kelly (1923–2015) American painter, sculptor, and printmaker

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. unknown : 'Notes from 1969'

“I could now move without effort from one world to the other as easily as I could change my clothes, but I appreciated that I was in danger of belonging to neither. When I was among my own people, a shadowy figure was always at my side watching them with critical, intolerant eyes.”

Wilfred Thesiger book Arabian Sands

Source: Arabian Sands (1959), p. 257.

“I tell you that if natural bodies have it from Nature to be moved by any movement, this can only be circular motion, nor is it possible that Nature has given to any of its integral bodies a propensity to be moved by straight motion. I have many confirmations of this proposition, but for the present one alone suffices, which is this. I suppose the parts of the universe to be in the best arrangement, so that none is out of its place, which is to say that Nature and God have perfectly arranged their structure. This being so, it is impossible for those parts to have it from Nature to be moved in straight, or in other than circular motion, because what moves straight changes place, and if it changes place naturally, then it was at first in a place preternatural to it, which goes against the supposition. Therefore, if the parts of the world are well ordered, straight motion is superfluous and not natural, and they can only have it when some body is forcibly removed from its natural place, to which it would then return by a straight line, for thus it appears that a part of the earth does [move] when separated from its whole. I said "it appears to us," because I am not against thinking that not even for such an effect does Nature make use of straight line motion.”

Galileo Galilei (1564–1642) Italian mathematician, physicist, philosopher and astronomer

A note on this statement is included by Stillman Drake in his Galileo at Work, His Scientific Biography (1981): Galileo adhered to this position in his Dialogue at least as to the "integral bodies of the universe." by which he meant stars and planets, here called "parts of the universe." But he did not attempt to explain the planetary motions on any mechanical basis, nor does this argument from "best arrangement" have any bearing on inertial motion, which to Galileo was indifference to motion and rest and not a tendency to move, either circularly or straight.
Letter to Francesco Ingoli (1624)

“I cried out. I turned the pages, one after the other, in a frenzy. I could not believe what I saw, would not believe it. For the pages of the book were blank.
Oh, yes, there had been writing, this much I could see, but the inks had faded. Now there were only faint smudges and marks here and there on the yellowness. And I could tell nothing from them…
It came to me, as I walked, how bitter the irony of the Book had been which had said: Herein the Truth. For it had a truth of its own in its bleached barrenness. What was truth except something which faded, lost its shape, grew unreadable and indistinguishable, at last a blank page for men to write on what they wished.”

Tanith Lee book The Birthgrave

Book Three, Part II “The Edge of the Sea”, Chapter 2 (p. 357)
The Birthgrave (1975)

“Images, memories, fragmentary shapes and forms — all those sensations, visions, half-thoughts that appear and disappear in the wink of an eye, as one sets forth to meet…. The path also disappears as I think of it, as I say it.”

Octavio Paz (1914–1998) Mexican writer laureated with the 1990 Nobel Prize for Literature

Source: The Monkey Grammarian (1974), Ch. 1

“I can’t say precisely. I don’t think anyone really knows how a story takes shape. When it’s done you try to explain how it happened, but every effort, at least in my case, is insufficient. There is a before, made up of fragments of memory, and an after, when the story begins. But before and after, I have to admit, are useful only in answering your question now in an intelligible way.”

Elena Ferrante (1943) Italian writer

On being asked how she begins a new work in “Elena Ferrante, Art of Fiction No. 228” https://www.theparisreview.org/interviews/6370/elena-ferrante-art-of-fiction-no-228-elena-ferrante in The Paris Review (Spring 2015)

“And while I stood there I saw more than I can tell and I understood more than I saw; for I was seeing in a sacred manner the shapes of all things in the spirit, and the shape of all shapes as they must live together like one being.”

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Black Elk Speaks (1961)
Context: Then I was standing on the highest mountain of them all, and round about beneath me was the whole hoop of the world. And while I stood there I saw more than I can tell and I understood more than I saw; for I was seeing in a sacred manner the shapes of all things in the spirit, and the shape of all shapes as they must live together like one being. And I saw that the sacred hoop of my people was one of many hoops that made one circle, wide as daylight and as starlight, and in the center grew one mighty flowering tree to shelter all the children of one mother and one father. And I saw that it was holy.

“I have never forgotten how the deprivation of work erodes human beings, those not working and those related to them. And from that time on, I loathed an economic that could put a huge part of its workforce on the streets with no compunction.”

Herbert Schiller (1919–2000) American media critic

Introduction, One Life, One Century, p. 12
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“Smooth shapes are very rare in the wild but extremely important in the ivory tower and the factory, and besides were my love when I was a young man. Cauliflowers exemplify a second area of great simplicity, that of shapes which appear more or less the same as you look at them up close or from far away, as you zoom in and zoom out.
Before my work, those shapes had no use, hence no word was needed to denote them. My work created such a need and I coined "fractals."”

Benoît Mandelbrot (1924–2010) Polish-born, French and American mathematician

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“There is an intimate relationship between my pictorial [2-dimensional] and my sculptural work. I would never begin on a sculpture without first gaining an idea of the colour... My mind is captivated by this task until I start to put down the colour on paper and imagine that this colour will become a drawing. And then, suddenly, the drawing begins to acquire shape, the shape, and this shape becomes the real shape.”

Marino Marini (1901–1980) Italian sculptor

as quoted in the exhibition text of 'Marino Marini, Painter, Draughtsman, Sculptor', Museum de Fundatie, September 2013 to 16 March 2014

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