
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 172.
1910, Manifesto of Futurist Painters,' April 1910
The Notebooks of Leonardo da Vinci (1883), II Linear Perspective
Context: All objects project their whole image and likeness, diffused and mingled in the whole of the atmosphere, opposite to themselves. The image of every point of the bodily surface, exists in every part of the atmosphere. All the images of the objects are in every part of the atmosphere.
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 172.
1910, Manifesto of Futurist Painters,' April 1910
Source: Quotes of Salvador Dali, 1931 - 1940, My Pictorial Struggle', S. Dali, 1935, Chapter: 'My Pictorial Struggle', p. 16
The Paris Review interview
Context: Every poem that works is like a metaphor of the whole mind writing, the solution of all the oppositions and imbalances going on at that time. When the mind finds the balance of all those things and projects it, that’s a poem. It’s a kind of hologram of the mental condition at that moment, which then immediately changes and moves on to some other sort of balance and rearrangement. What counts is that it be a symbol of that momentary wholeness. That’s how I see it.
The Notebooks of Leonardo da Vinci (1883), III Six books on Light and Shade
1898 in: Steven Z. Levine, Claude Monet (1994), Monet, Narcissus, and Self-Reflection: The Modernist Myth of the Self. p. 93: presented as "account at the time of the reexhibition of the seven Cathedrals in 1898."
Pylyshyn (1981, 18-19), as cited in: Ken Clements, "Visual imagery and school mathematics." For the learning of mathematics 2.2 (1981): 2-9.
Source: Autobiography of a Yogi (1946), Ch. 36 : Babaji's Interest in the West
Materialism and Empirio-Criticism (1908)
The Notebooks of Leonardo da Vinci (1883), II Linear Perspective