Quotes about composite (385 quotes) | Quotes of famous people

“Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name: He has taste, and, furthermore, the most profound knowledge of composition.”

Joseph Haydn (1732–1809) Austrian composer

Ich sage ihnen vor Gott, als ein ehrlicher Mann, ihr Sohn ist der größte Componist, den ich von Person und den Nahmen nach kenne: er hat geschmack, und über das die größte Compositionswissenschaft.
Quoted in a letter from Leopold Mozart to Maria Anna Mozart (1785-02-16)

God , Knowledge , Personality

“Ever since I was a little boy, I would study composition. And it was Pyotr Ilyich Tchaikovsky that influenced me the most. If you take an album like Nutcracker Suite, every song is killer, every one. So I said to myself, 'Why can't there be a pop album where every…' — People used to do an album where you'd get one good song, and the rest were like B-sides, they'd call them "album songs" — and I'd say to myself 'Why can't every one be like a hit song? Why can't every song be so great that people would want to buy it if you could release it as a single?. So I always tried to strive for that. That was the purpose for the next album.”

Michael Jackson (1958–2009) American singer, songwriter and dancer

On musical influences
Ebony interview (2007)

People , Boy , Study

“To consult the rules of composition before making a picture is a little like consulting the law of gravitation before going for a walk.”

Edward Weston (1886–1958) American photographer

Law

“They are shaman-artists who constantly strive to look into the blueprint of creation beyond the visual crowd and the noise of superficial details, the one on task to explore and communicate with a primary game of opposite values during composition and construction of a coherent imagery. They paint from both levels, the personal and the intimate and the universal one which emerges from life-giving tension. Every Ink image, every Sumi-e painting, is a unique crossroad of oppositions, of directions, of intentions. They are all constant reminders of the duality of creation and the accuracy of the equation where two equals one.”

Alfred Freddy Krupa (1971) Croatian contemporary painter, master draughtsman, book artist and art teacher, the pioneer of the New Ink Art m…

2010s

Painting , Personality , Game , Communication

“It is a mistake to think that the practice of my art has become easy to me. I assure you, dear friend, no one has given so much care to the study of composition as I. There is scarcely a famous master in music whose works I have not frequently and diligently studied.”

Wolfgang Amadeus Mozart (1756–1791) Austrian Romantic composer

Spoken in Prague, 1787, to conductor Kucharz, who led the rehearsals for Don Giovanni, from Mozart: The Man and the Artist, as Revealed in his own Words by Friedrich Kerst, trans. Henry Edward Krehbiel (1906).

Art , Music , Thinking , Study

“The Rhapsody is not a composition at all. It's a string of separate paragraphs stuck together — with a thin paste of flour and water… I don’t think there has been such an inspired melodist on this earth since Tchaikovsky… but if you want to speak of a composer, that's another matter.”

Leonard Bernstein (1918–1990) American composer, conductor, author, music lecturer, and pianist

Of George Gershwin's Rhapsody in Blue
"Why Don't You Run Upstairs and Write a Nice Gershwin Tune?", in The Atlantic Monthly, April 1955.

Thinking , Water , Past

“In England, a century of strong government has developed what O. Henry called the stern and rugged fear of the police to a point where any public protest seems an indecency. But in France everyone can remember a certain amount of civil disturbance, and even the workmen in the bistros talk of la revolution — meaning the next revolution, not the last one. The highly socialised modern mind, which makes a kind of composite god out of the rich, the government, the police and the larger newspapers, has not been developed — at least not yet.”

George Orwell (1903–1950) English author and journalist

Review of The Civilization of France by Ernst Robert Curtius; translated by Olive Wyon, in The Adelphi (May 1932)

God , Fear , Strong

“I am against the line and all its consequences: contours, forms, composition. All paintings of whatever sort, figuratives or abstract, seem to me like prison windows in which the lines, precisely are the bars.”

Yves Klein (1928–1962) French artist

Gilbert Perlein and Bruno Cora, Yves Klein: Long live the Immaterial, Delano Greenidge Edition, New York, 2001. p. 74
from posthumous publications

Painting

“I don't know the names of any pop musicians. Pop music is standardised; it's made to please the largest audience possible. I also compose to please a large audience, but when you listen to my music, you understand that I have studied and applied the whole history of composition.”

Ennio Morricone (1928–2020) Italian composer, orchestrator and conductor

Music , History , Study , Understanding

“I think I summed up my attitude to philosophy when I said: philosophy ought really to be written only as a poetic composition.”

Ludwig Wittgenstein (1889–1951) Austrian-British philosopher

Source: Culture and Value

Thinking

“These rules are of use only in correcting the figures; since every man makes some mistakes in his first compositions and he who knows them not, cannot amend them. But you, knowing your errors, will correct your works and where you find mistakes amend them, and remember never to fall into them again. But if you try to apply these rules in composition you will never make an end, and will produce confusion in your works.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

The Notebooks of Leonardo da Vinci (1883), I Prolegomena and General Introduction to the Book on Painting

Error

“There are a host of bad habits and inconsiderate acts which mean nothing in themselves but which are terrible as indicators of the true composition of a soul.”

Marie von Ebner-Eschenbach (1830–1916) Austrian writer

Es gibt eine Menge kleiner Rücksichtslosigkeiten und Unarten, die an und für sich nichts bedeuten, aber furchtbar sind als Kennzeichen der Beschaffenheit der Seele.
Source: Aphorisms (1880/1893), p. 38.

Soul

“Now the compound or composite may be supposed to be naturally capable of being dissolved in like manner as being compounded; but that which is uncompounded, and that only, must be, if anything is, indissoluble. …And the uncompounded may be assumed to be the same and unchanging, where the compound is always changing and never the same? …Is that idea or essence, which in the dialectical process we define as essence of true existence—whether essence of equality, beauty, or anything else: are these essences, I say, liable at times to some degree of change? or are they each of them always what they are, having the same simple, self-existent and unchanging forms, and not admitting of variation at all, or in any way, or at any time?”

Socrates (-470–-399 BC) classical Greek Athenian philosopher

Plato, Phaedo

Beauty , Way , Idea , Nature

“There is no field other than the weird in which I have any aptitude or inclination for fictional composition. Life has never interested me so much as the escape from life.”

H.P. Lovecraft (1890–1937) American author

Letter to J. Vernon Shea (7 August 1931), quoted in "H.P. Lovecraft, a Life" by S.T. Joshi, p. 579
Non-Fiction, Letters

Life

“A creative artist works on his next composition because he is not satisfied with his previous one. When he loses a critical attitude toward his own work, he ceases to be an artist.”

Dmitri Shostakovich (1906–1975) Russian composer and pianist

New York Times, October 25, 1959.

“If then we would indeed be “filled with wisdom and spiritual understanding;” if we would “walk worthy of the Lord unto all well pleasing, being fruitful in every good work, and increasing in the knowledge of God;” here let us fix our eyes! “Laying aside every weight, and the sin that does so easily beset us; let us run with patience the race that is set before us, Looking unto Jesus, the Author and Finisher of our faith, who for the joy that was set before him endured the cross, despising the shame, and is set down at the right hand of the throne of God.
Here best we may learn the infinite importance of Christianity. How little it can deserve to be treated in that slight and superficial way, in which it is in these days regarded by the bulk of nominal Christians, who are apt to think it may be enough, and almost equally pleasing to God, to be religious in any way, and upon any system. What exquisite folly it must be to risk the soul on such a venture, in direct contradiction to the dictates of reason, and the express declaration of the word of God! “How shall we escape, if we neglect so great salvation?”
LOOKING UNTO JESUS!
Here we shall best learn the duty and reasonableness of an absolute and unconditional surrender of soul and body to the will and service of God.—“We are not our own; for we are bought with a price,” and must “therefore” make it our grand concern to “glorify God with our bodies and our spirits, which are God’s.” Should we be base enough, even if we could do it with safety, to make any reserves in our returns of service to that gracious Saviour, who “gave up himself for us?” If we have formerly talked of compounding by the performance of some commands for the breach of others; can we now bear the mention of a composition of duties, or of retaining to ourselves the right of practising little sins! The very suggestion of such an idea fills us with indignation and shame, if our hearts be not dead to every sense of gratitude.
LOOKING UNTO JESUS!
Here we find displayed, in the most lively colours, the guilt of sin, and how hateful it must be to the perfect holiness of that Being, “who is of purer eyes than to behold iniquity.” When we see that, rather than sin should go unpunished, “God spared not his own Son,” but “was pleased[99], to bruise him and put him to grief” for our sakes; how vainly must impenitent sinners flatter themselves with the hope of escaping the vengeance of Heaven, and buoy themselves up with I know not what desperate dreams of the Divine benignity!
Here too we may anticipate the dreadful sufferings of that state, “where shall be weeping and gnashing of teeth;” when rather than that we should undergo them, “the Son of God” himself, who “thought it no robbery to be equal with God,” consented to take upon him our degraded nature with all its weaknesses and infirmities; to be “a man of sorrows,” “to hide not his face from shame and spitting,” “to be wounded for our transgressions, and bruised for our iniquities,” and at length to endure the sharpness of death, “even the death of the Cross,” that he might “deliver us from the wrath to come,” and open the kingdom of Heaven to all believers.
LOOKING UNTO JESUS!
Here best we may learn to grow in the love of God! The certainty of his pity and love towards repenting sinners, thus irrefragably demonstrated, chases away the sense of tormenting fear, and best lays the ground in us of a reciprocal affection. And while we steadily contemplate this wonderful transaction, and consider in its several relations the amazing truth, that “God spared not his own Son, but delivered him up for us all;” if our minds be not utterly dead to every impulse of sensibility, the emotions of admiration, of preference, of hope, and trust, and joy, cannot but spring up within us, chastened with reverential fear, and softened and quickened by overflowing gratitude. Here we shall become animated by an abiding disposition to endeavour to please our great Benefactor; and by a humble persuasion, that the weakest endeavours of this nature will not be despised by a Being, who has already proved himself so kindly affected towards us. Here we cannot fail to imbibe an earnest desire of possessing his favour, and a conviction, founded on his own declarations thus unquestionably confirmed, that the desire shall not be disappointed. Whenever we are conscious that we have offended this gracious Being, a single thought of the great work of Redemption will be enough to fill us with compunction. We shall feel a deep concern, grief mingled with indignant shame, for having conducted ourselves so unworthily towards one who to us has been infinite in kindness: we shall not rest till we have reason to hope that he is reconciled to us; and we shall watch over our hearts and conduct in future with a renewed jealousy, [Pg 243] lest we should again offend him. To those who are ever so little acquainted with the nature of the human mind, it were superfluous to remark, that the affections and tempers which have been enumerated, are the infallible marks and the constituent properties of Love. Let him then who would abound and grow in this Christian principle, be much conversant with the great doctrines of the Gospel.
It is obvious, that the attentive and frequent consideration of these great doctrines, must have a still more direct tendency to produce and cherish in our minds the principle of the love of Christ.”

William Wilberforce (1759–1833) English politician

Source: Real Christianity (1797), p. 240-243.

Love , Death , Wisdom , God

“To realize this towering imperative vision in all its integral possibilities… I lived days of anxiety, torture, and delight alike, trembling all over with emotion as those railing[s] in the midst of the bridge vibrating at the continuous passage of the trains. I appealed for help to the soaring verse of Walt Whitman and to the fiery Poe’s plasticity. Upon the swarming darkness of the night, I rung all the bells of alarm with the blaze of electricity scattered in lightnings down the oblique cables, the dynamic pillars of my composition, and to render more pungent the mystery of the metallic apparition, through the green and red glare of the signals I excavated here and there caves as subterranean passages to infernal recesses.”

Joseph Stella (1877–1946) American artist

Biographical note; Quotes in: Horst Woldemar Janson, Anthony F. Janson, History of Art: The Western Tradition http://books.google.com/books?id=MMYHuvhWBH4C&pg=PT831&lpg=PT831, Prentice Hall Professional, 2004. p. 831

Help , Training , Night

“Imagine that each of these layers of existence are like patterns. They're patterns within patterns within patterns within patterns, and there's a way of making all that harmonious. That's what music models. That's why music is so meaningful. You take a beautiful orchestral composition, and they're doing different things are different levels. But they all flow together harmoniously, and you're right in the middle of that as a listener. And it fills you almost with a sense of religious awe, even if you're a punk rock nihilist. The reason for that is because the music is modeling the manner of Being that's harmonious. It's the proper way to exist. Religious writings, in the deepest sense, are guidelines to that mode of Being. They're not true like scientific knowledge is true. They're hyper true, or meta-true. It's like this: if you take the most true things about your life, and then you take the most true things about ten other people's lives, and then we amalgamate them into a single figure. That would be like a literary hero. And then we take a thousands literary heroes and we extract out from them what makes the most heroic person - that's a religious deity. That's what Christ is. He's a meta-hero. And that sits at the bottom of Western Civilization. Christ's archetypal mode of Being is True Speech. That's the fundamental idea of Western Civilization, and it's right.”

Jordan Peterson (1962) Canadian clinical psychologist, cultural critic, and professor of psychology

Concepts

Life , People , Beauty , Music

“There is something exceedingly ridiculous in the composition of monarchy; it first excludes a man from the means of information, yet empowers him to act in cases where the highest judgment is required.”

Thomas Paine (1737–1809) English and American political activist

1770s, Common Sense (1776)

“The creation and destruction of harmonic and 'statistical' tensions is essential to the maintenance of compositional drama. Any composition (or improvisation) which remains consistent and 'regular' throughout is, for me, equivalent to watching a movie with only "good guys" in it, or eating cottage cheese.”

Frank Zappa (1940–1993) American musician, songwriter, composer, and record and film producer

The Real Frank Zappa Book (1989)

Guy

“Dinocrates, I appreciate your design as excellent in composition, and I am delighted with it, but I apprehend that anybody who should found a city in that spot would be censured for bad judgement. For as a newborn babe cannot be nourished without the nurse's milk, nor conducted to the approaches that lead to growth in life, so a city cannot thrive without fields and the fruits thereof pouring into its walls.”

Alexander the Great (-356–-323 BC) King of Macedon

Vitruvius, De Architectura Bk. 2, Introduction, Sec. 3

Life

“The piano plays a central role in Prokofiev’s oeuvre. Not only are his works for piano solo or piano with orchestra numerous, but they also rank among his more important compositions. The piano was the first instrument Prokofiev heard and the only one he mastered.”

Boris Berman (1948) Russian/American musician

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev the pianist

“Though I remained insensitive to the subtleties and delicate gradations of colour.... my eyes at least did not deceive me when I drew back and looked at the subject in its broad lines, and this was the starting-point of new compositions... Slowly I tried my strength in innumerable rough sketches which convinced me... I could see as clearly as ever when it came to vivid colours isolated in a mass of dark tones. How was I to put this to use? My intentions gradually became clearer... I said to myself, as I made my sketches, that a series of general impressions, captured at the times of day when I had the best chance of seeing correctly, would not be without interest. I waited for the idea to consolidate, for the grouping and composition of the themes to settle themselves in my brain little by little, of their own accord; and the day when I felt I held enough cards to be able to try my luck with a real hope of success, I determined to pass to action, and did so.”

Claude Monet (1840–1926) French impressionist painter

remark by Monet – between 1900 and 1920 – on his 'Water lilies' paintings; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 132
1900 - 1920

Hope , Idea , Chance , Time

“People are always talking about 'incidentals'; but nothing is incidental in a picture, everything is indispensable to the whole effect, so nothing must be neglected. If a man can give value to the main part of his composition only by negligent treatment of the subordinate portions, his work is in a bad way. Everything must and can be carefully executed, without the different parts obtruding themselves on the eye. The proper subordination of the parts to the whole is not achieved by neglecting incidental features, but by correct grouping and by the distribution of light and shadow.”

Caspar David Friedrich (1774–1840) Swedish painter

Quote from his writings Thoughts on Art, Caspar David Friedrich; as cited in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 33-34
undated

People , Way , Light , Parting

“The best critics of the nineteenth and twentieth centuries demand perfect rhyming, and no aspirant for fame can afford to depart from a standard so universal. It is evidently the true goal of the English, as well as of the French bard; the goal from which we are but temporarily deflected during the preceding age.
But exceptions should and must be made in the case of a few who have somehow absorbed the atmosphere of other days, and who long in their hearts for the stately sound of the old classic cadences. Well may their predilection for imperfect rhyming be discouraged to a limited extent, but to chain them wholly to modern rules would be barbarous. Every limited mind demands a certain freedom of expression, and the man who cannot express himself satisfactorily without the stimulation derived from the spirited mode of two centuries ago should certainly be permitted to follow without undue restraint a practice so harmless, so free from essential error, and so sanctioned by precedent, as that of employing in his poetical compositions the smooth and inoffensive allowable rhyme.”

H.P. Lovecraft (1890–1937) American author

The Allowable Rhyme (1915)
Non-Fiction

Age , Error , Freedom , Universe

“On the whole, however, the conclusions I have drawn from the proofs quoted may, I believe, safely be relied on. Assuredly they will not be disturbed either by the lays of a poet displaying the exaggeration of his craft, or by the compositions of the chroniclers that are attractive at truth's expense; the subjects they treat of being out of the reach of evidence, and time having robbed most of them of historical value by enthroning them in the region of legend.”

Thucydides History of the Peloponnesian War

Book I, 21-[1]
History of the Peloponnesian War, Book I

Truth , Quotes , Time

“The hypothesis has been proposed that all mental events and experiences, in fact the whole of the outer and inner sensory experiences, are a composite of elemental or unitary mental experiences at all levels of intensity.”

John C. Eccles book How the Self Controls Its Brain

He here refers to his proposal in "A unitary hypothesis of mind-brain interaction in the cerebral cortex" (1990); published in Proceedings of the Royal Society B 240, p. 433 - 451
How the Self Controls Its Brain (1994)
Context: The hypothesis has been proposed that all mental events and experiences, in fact the whole of the outer and inner sensory experiences, are a composite of elemental or unitary mental experiences at all levels of intensity. Each of these mental units is reciprocally linked in some unitary manner to a dendron … Appropriately we name these proposed mental units 'psychons.' Psychons are not perceptual paths to experiences. They are the experiences in all their diversity and uniqueness. There could be millions of psychons each linked uniquely to the millions of dendrons. It is hypothesized that it is the very nature of psychons to link together in providing a unified experience.

“As in Mathematicks, so in Natural Philosophy, the Investigation of difficult Things by the Method of Analysis, ought ever to precede the Method of Composition.”

Isaac Newton book Opticks, or a Treatise of the Reflections, Refractions, Inflections and Colours of Light

Query 31
Opticks (1704)

Nature

“Writers are not just people who sit down and write. They hazard themselves. Every time you compose a book your composition of yourself is at stake.”

E.L. Doctorow (1931–2015) novelist, editor, professor

People , Books , Time

“Unprovided with original learning, unformed in the habits of thinking, unskilled in the arts of composition, I resolved to write a book.”

Edward Gibbon (1737–1794) English historian and Member of Parliament

Books , Art , Thinking , Learning

“When composing a verse let there not be a hair's breath separating your mind from what you write; composition of a poem must be done in an instant, like a woodcutter felling a huge tree or a swordsman leaping at a dangerous enemy.”

Bashō Matsuo (1644–1694) Japanese poet

Tree

“A slavish concern for the composition of words is the sign of a bankrupt intellect. Be gone, odious wasp! You smell of decayed syllables.”

Norton Juster book The Phantom Tollbooth

Source: The Phantom Tollbooth

“Read over your compositions, and wherever you meet with a passage which you think is particularly fine, strike it out.”

Samuel Johnson (1709–1784) English writer

Recalling "what an old tutor of a college said to one of his pupils" April 30, 1773, p. 217
Life of Samuel Johnson (1791), Vol II
Source: The Life of Samuel Johnson LL.D. Vol 2

Thinking , Reading

“In a composite nation like ours, as before the law, there should be no rich, no poor, no high, no low, no white, no black, but common country, common citizenship, equal rights and a common destiny.”

Frederick Douglass (1818–1895) American social reformer, orator, writer and statesman

Law , Country

“Various inscriptions refer to the Mbh (Mahabharata) as the composition of Vyasa, the Veda divider, the son of Parasara, and as containing 100,000 verses…”

Vyasa central and revered figure in most Hindu traditions

In p. 3.
Sources, Seer of the Fifth Veda: Kr̥ṣṇa Dvaipāyana Vyāsa in the Mahābhārata

“Composition allows the artist the greatest possible freedom, so that his subjectivity can express itself, to a certain degree, for as long as needed.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

Freedom

“Man is not supposed to make life. Only God can make a tree. Why should you make a living organism? You should make images of living organisms. It seems presumptuous to attempt to make a thing which breathes and pulsates right there by itself. It's unnatural. What's inhuman about it is, the human way to create, I think, the way we see, from part to part. You do this and then you do that, then you do that and that. Then you learn about composition, you learn about old masters, you form certain ideas about structure. But the inhuman activity of trying to make some kind of jump or leap, where even though you naturally have to paint, after all a painting is only a painting, the painting is always saying, what do you want from me, I can only be a painting, you have to go from part to part, but you shouldn't see yourself go from part to part, that's the whole point That's some kind of a leap.... I'm describing the process of painting.”

Phillip Guston (1913–1980) American artist

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, pp. 68/69

Life , God , Way , Idea

“The unfair composition of the Security Council is largely acknowledged. The principal defects are the anachronistic privileges of the five permanent members of the Council and the Council’s insufficient representativeness.”

Alfred de Zayas (1947) American United Nations official

United Nations General Assembly - Promotion of a democratic and equitable international order http://www.ohchr.org/Documents/Issues/IntOrder/A-68-284_en.pdf.
2013

“It is not possible to find a landscape, which if painted precisely as it is, will not make an impressive picture. No one knows, till he has tried, what strange beauty and subtle composition is prepared to his hand by Nature.”

John Ruskin book Modern Painters

Volume III, part V, chapter II (1856).
Modern Painters (1843-1860)

Beauty , Nature , Painting

“Each jazz musician when he takes a horn in his hand — trumpet, bass, saxophone, drums — whatever instrument he plays — each soloist, that is, when he begins to ad lib on a given composition with a title and improvise a new creative melody, this man is taking the place of a composer.”

Charles Mingus (1922–1979) American jazz double bassist, composer and bandleader

What Is A Jazz Composer? (1971)

“In the present day, however, the province of Rhetoric, in the widest acceptation that would reckoned admissible, comprehends all "Composition in Prose;" in the narrowest sense, it would be limited to "Persuasive Speaking."”

Richard Whately (1787–1863) English rhetorician, logician, economist, and theologian

Introduction, p. 4
Elements of Rhetoric (1828)

Sense

“There is a simple rule for composite objects, such as nuclei or atoms. The rule is that if such an object contains an odd number of fermions, the composite object is a fermion. Otherwise, it is a boson. …this simple rule doesn't care at all about the number of bosons in the composite object.”

Frank Wilczek (1951) physicist

Longing for the Harmonies: Themes and Variations from Modern Physics (1987)

“The term spirituality is misleading. It gives the impression that we are concerned only with the soul and its activities like prayer and contemplation. The realm of the spirit is thought of as distinct from the material realm, the realm of work, of science and economics. Underlying this dichotomy is the Greek understanding of the human person as a composite of soul and body or as a soul temporarily housed in the body. The classical example of this is Plato’s image of the human person as the charioteer in the chariot.”

Kurien Kunnumpuram (1931–2018) Indian theologian

Kunnumpuram, K. (ed) (2006) Life in Abundance: Indian Christian Reflections on Spirituality. Mumbai: St Pauls
On Spirituality

Soul , Understanding , Science , Housing

“The ultimate enjoyment for a composer is when his compositions get recognised and appreciated. For me, a small village in Kanyakumari is as important as New York or France.”

A. R. Rahman (1966) Indian singer and composer

The A R Rahman Chat

“No, I think Abstract art is valuable. It teaches people the language of painting. In my own work I have produced carvings which perhaps might see to most people purely abstract. This means that in those works I have been mainly concerned to try to solve problems of design and composition. But these carvings have not really satisfied me because I have not had the same sort of grip or hold over them that I have as soon as a thing takes on a kind of organic idea. And in almost all my carvings there has been an organic idea in my mind. I think of it as having a head, body, limbs..”

Henry Moore (1898–1986) English artist

Quote in 'The Listener', 13 November 1941, pp. 657-9; as cited in Henry Moore writings and Conversations, ed. Alan Wilkinson, University of California Press, California 2002, p. 126
1940 - 1955

People , Art , Idea , Problem

“Wodeyar's musical output numbers close to 100 kritis [Compositions]. The nature of this output, whether it is in the choice of ragas like Bhanu Chandrika, Hamsanatini and Bhoopala Panchama, or in the lyrics which carry deep meanings drawn form the Upanishads and Srividya worship, show a keen and intelligent mind at work. Fascinating as the life was of this multi-faceted personality, it also had a poignancy for the trials and tribulations he faced.”

Jayachamarajendra Wadiyar (1919–1974) Indian writer

In Jayachamaraja Wodeyar http://www.radioweb.in/programs/jayachamaraja-wodeyar

Life , Music , Intelligence , Nature

“The playing of Soviet pianists of the younger generation differed significantly from the composer’s performing style, as discussed above. (Here I am referring to the generation of Richter and Gilels or younger, as opposed to Prokofiev’s coevals such as Neuhaus and Samuil Feinberg, who also had Prokofiev’s works in their repertoires.) Since we know that Prokofiev appreciated their playing, does it mean that he accepted their approach? Should we regard the new generation’s playing as a distortion of the composer’s intentions or as a natural evolution of interpretive style?
I believe that Prokofiev, having been exposed to the new performing style of the Soviet pianists, accepted at least some of its qualities. We can mention assertive muscular playing, open expressivity, and a gripping commitment to the music among those traits that brought recognition to Soviet pianists and assured their success in the international arena. These characteristics were concordant with the evolving compositional style of Prokofiev, whose later works became both more virile (often heroic) and expressive in a warmer and more open way.”

Boris Berman (1948) Russian/American musician

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev the pianist

Music , Way , Nature , Success

“Each jazz musician is supposed to be a composer. Whether he is or not, I don't know. I don't listen to that many people. If I did, I probably wouldn't play half as much to satisfy myself. As a youth I read a book by Debussy and he said that as soon as he finished a composition he had to forget it because it got in the way of his doing anything else new and different. And I believed him. I used to work with Tatum, and Tatum knew every tune written, including the classics, and I think it got in the way of his composition, because he wasn't a Bud Powell. He wasn't as melodically inventive as Bud. He was technically flashy and he knew so much music and so much theory that he couldn't come up with anything wrong; it was just exercising his theory.”

Charles Mingus (1922–1979) American jazz double bassist, composer and bandleader

What Is A Jazz Composer? (1971)

People , Books , Youth , Music

“We wallow in nostalgia but manage to get it all wrong. True nostalgia is an ephemeral composition of disjointed memories […] but American-style nostalgia is about as ephemeral as copyrighted déjà vu.”

Florence King (1936–2016) American writer

"Déjà Views", in Reflections in a Jaundiced Eye (1989), p. 112

Nostalgia , Memory

“In terms of composition the new plasticism is dualistic. Through the exact reconstruction of cosmic relations it is a direct expression of the universal; by its rhythm, by the material reality of its plastic form, it expresses the artist's individual subjectivity. It thus unfolds before us a whole world of universal beauty without thereby renouncing the human element.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

World , Beauty , Reality , Universe

“Population in India is widely differentiated in ethnic composition, geographical and climatic conditions, social and cultural stratiﬁcation, as well as by differences in economic status. Differential fertility therefore assumes a far more complex picture in India than anywhere in the world. Ethnic. geographical. socio-cultural and economic dilferences give a four-fold patterning with many complicated interactions. It is essential therefore to study different population groups separately.”

Prasanta Chandra Mahalanobis (1893–1972) Indian scientist

Quote, Professor P.C. Mahalanobis and the Development of Population Statistics in lndia

World , Study

“Some poets are more deeply involved than others in the raw experience which lies behind the poem and for them the act of composition is an act of self exploration with the definite goal of enlightenment rather than the ideally depersonalized construction of a beautiful and autonomous object.”

Vernon Scannell (1922–2007) British boxer and poet

Not Without Glory, 1976

Beauty

“Because demography is concerned with human affairs and human populatlons it is possible, in principle, to consider demography as a sub-ﬁeld of many other subjects. It provided the scope of any particular subject-ﬁeld like anthropology, genetics, ecology, economics, sociology, etc., and is deﬁned in a sufﬁciently comprehensive manner. While not denying the possibility of considering demography as a sub-ﬁeld of one or another subject, at least for certain special purposes, it is suggested that demography should be logically viewed as the totality of convergent and inter-related factors and topics which (although these could be, spearately, the concern of many diﬂ'erent subjects like genetics and anthropology, sociology, education, psychology. economics, social and political affairs etc.) jointly, together with their mutual inter-actions, form the determinants as well as the consequences of growth (or decline), changes in composition, territorial movements, and social mobility of population in different geographical regions or in the world as a whole, at any given period of time, or over diﬂ'erent periods of time. Such a view would supply an aggregative, inter-related, and mutually interacting system of all those factors which have any inﬂuence over, or are inﬂuenced by, demographic or population changes over space and time.”

Prasanta Chandra Mahalanobis (1893–1972) Indian scientist

Quote, Professor P.C. Mahalanobis and the Development of Population Statistics in lndia

World , Education , Change , Time

“Those who expect from a people like the Hindus a species of composition of precisely the same character as the historical works of Greece and Rome commit the very gregarious error of overlooking the peculiarities which distinguish the natives of India from all other races, and which strongly discriminate their intellectual productions of every kind from those of the West. Their philosophy, their poetry, their architecture, are marked with traits of originality; and the same may be expected to pervade their history, which, like the arts enumerated, took a character from its intimate association with the religion of the people. It must be recollected, moreover,… that the chronicles of all the polished nations of Europe, were, at a much more recent date, as crude, as wild, and as barren, as those of the early Rajputs.” … “My own animadversions upon the defective condition of the annals of Rajwarra have more than once been checked by a very just remark: ‘When our princes were in exile, driven from hold to hold, and compelled to dwell in the clefts of the mountains, often doubtful whether they would not be forced to abandon the very meal preparing for them, was that a time to think of historical records?’ ”… “If we consider the political changes and convulsions which have happened in Hindustan since Mahmood’s invasion, and the intolerant bigotry of many of his successors, we shall be able to account for the paucity of its national works on history, without being driven to the improbable conclusion, that the Hindus were ignorant of an art which has been cultivated in other countries from almost the earliest ages. Is it to be imagined that a nation so highly civilized as the Hindus, amongst whom the exact sciences flourished in perfection, by whom the fine arts, architecture, sculpture, poetry, music, were not only cultivated, but taught and defined by the nicest and most elaborate rules, were totally unacquainted with the simple art of recording the events of their history, the character of their princes and the acts of their reigns?”

James Tod (1782–1835) 1782-1835, English officer of the British East India Company and an Oriental scholar

[The fact appears to be that] “After eight centuries of galling subjection to conquerors totally ignorant of the classical language of the Hindus; after every capital city had been repeatedly stormed and sacked by barbarous, bigoted, and exasperated foes; it is too much to expect that the literature of the country should not have sustained, in common with other interests, irretrievable losses.”
James Tod, Annals and Antiquities of Rajasthan, Routledge and Kegan Paul (London,l829,1957), 2 vols., I quoted from Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan. Chapter 3

People , Age , Religion , Art

“I desire to sever all connection with the Society of American Artists. In deference to some of its older members, who perhaps from sentimental motives requested me to reconsider my resignation last year, I shall explain… For the last three years my paintings have been rejected by you, one of them the Agnew portrait, a composition more important than any I have ever seen on your walls.Rejection for three years eliminates all elements of chance, and while in my opinion there are qualities in my work which entitle it to rank with the best in your Society, your Society's opinion must be that it ranks below much that I consider frivolous and superficial. These opinions are irreconcilable.”

Thomas Eakins (1844–1916) American painter

Letter to the Society of American Artists (1892-05-07).

Motivation , Chance , Painting

“Great abilities are not requisite for an Historian; for in historical composition, all the greatest powers of the human mind are quiescent. He has facts ready to his hand; so there is no exercise of invention. Imagination is not required in any high degree; only about as much as is used in the lower kinds of poetry.”

Samuel Johnson (1709–1784) English writer

July 6, 1763, p. 120
Life of Samuel Johnson (1791), Vol I

Exercises , Imagination

“Vyasa wrote the first 40,000 verses and this book was named Jaya. Afterwards other writers added more stories and it became known as Bharata. Later still more additions were made until the composition became the Mahabharata as we know it today…. We believe that Veds Vyasa was one person and that he alone composed the entire Mahabharata consisting of 100,000 verses, it is the world’s largest epic in existence today and an encyclopedia of knowledge.”

Vyasa central and revered figure in most Hindu traditions

Swami Tejomayananada, in p. 139.
Sources, Hindu Culture, An Introduction

Books , World , Knowledge , Personality

“Why do I paint? In my work as a mathematician, form, structure, and economy of expression are important. In music, add tone quality, balance and harmony. And now in painting, these aesthetic values are enhanced by color, contrast, and composition.”

Robin Hartshorne (1938) American mathematician

Robin Hartshorne Fine Art, fineartstudioonlione.com http://robinfaso.fineartstudioonline.com/about

Music , Color , Painting

“I ordered Major [transport company] tomorrow afternoon 2 o'clock to pack the paintings, I am still completely in all the paintings - as nightmares they are flying around me, now you know as of old how that is, but tomorrow afternoon at 2 o'clock I am free. I believe there are nice things among them, the drawing has become a little too fat, but there is much good in it, and it is very well-finished. I send to Peacock. The forest with wood hackers, which was hanging above the door of my studio, then the sheep [small composition-sketch of a sheep herd with shepherd] and... I believe you know them all, 7 pieces together, afterwards I have to start working for Arnold & Tripp [art-sellers in Paris], I let those guys wait and that's not right to do..”

Anton Mauve (1838–1888) Dutch painter (1838–1888)

translation from original Dutch, Fons Heijnsbroek, 2018
(version in original Dutch / origineel citaat van Anton Mauve, uit zijn brief:) Morgen middag 2 uur heb ik Majoor [transportbedrijf] besteld om de schilderijen in te pakken ik ben nu nog geheel in alle die schilderijen als nacht merries zijn ze om me heen nu je weet wel van ouds, hoe of dat is maar morgen om 2 uur ben ik vrij. Ik geloof dat er aardige dingen bij zijn, de teekening is wel wat dik geworden, doch veel goeds er in, en erg af ik verzend aan Peacock Het bosch met hout hakkers, dat boven de deur van mijn atelier hing dan de schapen [klein compositieschetsje schaapskudde met herder] en [klein compositieschetsje schapen op bospad] en [klein compositieschetsje met schaapskudde] en [klein compositieschetsje koe?] en [klein compositieschetsje schaapskudde met vliegdennen] en de teekening (schapen uit het bosch komende) ik geloof dat je ze allen kent, 7 stuks te zamen, ik moet daarna ook voor Arnold & Tripp [kunsthandelaars in Parijs] aan de gang, die luitjes laat ik maar wachten en dat mag niet..
In a letter of Mauve from Laren, 27 June 1887 original text of the letter in RKD Archive https://rkd.nl/explore/excerpts/10, The Hague
1880's

Art , Guy , Waiting , Drawing

“For as when much superfluous matter has gathered in simple bodies, nature makes repeated efforts to remove and purge it away, thereby promoting the health of these bodies, so likewise as regards that composite body the human race, when every province of the world so teems with inhabitants that they can neither subsist where they are nor remove elsewhere, every region being equally crowded and over-peopled, and when human craft and wickedness have reached their highest pitch, it must needs come about that the world will purge herself in one or another of these three ways, to the end that men, becoming few and contrite, may amend their lives and live with more convenience.”

Niccolo Machiavelli book Discourses on Livy

Book 1 Ch. 5 (as translated by Ninian Hill Thomson)
Discourses on Livy (1517)

Men , People , Health , World

“Product and service quality can be defined as the total composite product and service characteristics of marketing, engineering, manufacturing, and maintenance through which the product and service in use will meet the expectations of the customer.”

Armand V. Feigenbaum (1922–2014) American businessman

Variant: Product quality can then be defined as: The composite product characteristics of engineering and manufacturing that determine the degree to which the product, in use, will meet the expectations of the customer.
Source: Total Quality Control, 1983, p. 7

“It was this indifference to the quality of his material that earned Liszt the contempt of his most distinguished contemporaries and of many of the most respectable critics and historians of posterity. It was, nevertheless, his greatest strength. It made it possible for him to manipulate the material ruthlessly, to concentrate on effects of realization with unprecedented intensity, and to integrate styles and techniques of performance into composition in a new way. His invention of novel keyboard effects and his mastery of musical gesture have always been undervalued, especially by pianists of the German school who prefer the kind of music that can be executed while soulfully regarding the ceiling. On the whole, the most genuine understanding of his music has been displayed by musicians of eastern Europe, and he may almost be considered as the founder of Russian pianism.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 8 : Liszt: On Creation as Performance

School , Music , Way , Understanding

“These new means [in the modern film, 1920's] have given us a new mentality. We want to see clearly, we want to understand mechanisms, functions, motors, down to their subtlest details. Composite wholes are no longer enough for us – we want to feel and grasp the details of those wholes – and we realise that these details, these fragments, if seen in isolation, have a complete and particular life of their own... Close-ups in the cinema are a consecration of this new vision... A shoe as beautiful as a picture. A picture as beautiful as an X-ray machine.”

Fernand Léger (1881–1955) French painter

Quote from: 'Actualités, Fernand Léger', in 'Varietés nr. 1', 1928, pp. 522-23
Quotes of Fernand Leger, 1920's

Life , Beauty , Shoe , Feeling

“Dad is a man of few words. He rarely discusses my compositions. But I hear him humming my numbers to my nephew. The recent one is a hit from the Telugu flick “Oy”. A musical genius in the family is both a huge advantage and a disadvantage. I’ve absorbed so much from my father. But, at the same time, fans keep writing to me saying they expect more from me — because of my lineage!”

Yuvan Shankar Raja (1979) Indian musician

Yuvan Unplugged (2009)

Family , Music , Time

“Gangsta rap-based filmings became the buildin blocks
For children with leakin ceilings catchin drippins with pots
Coupled with compositions from Pac, Nas's "It Was Written"
In the mix with my realities and feelings
Living conditions, religion, ignorant wisdom and artistic vision
I began to jot, tap the world and listen,”

Lupe Fiasco (1982) rapper

Albums, Lupe Fiasco's Food & Liquor (2006)

Wisdom , Children , World , Religion

“Composition, the aim of which is expression, alters itself according to the surface to be covered. If I take a sheet of paper of given dimensions I will jot down a drawing which will have a necessary relation to its format – I would not repeat this drawing on another sheet of different dimensions, for instance on a rectangular sheet.... a drawing must have a power of expansion which can bring to life the space which surrounds it.”

Henri Matisse (1869–1954) French artist

Source: 1905 - 1910, Notes d'un Peintre' (Notes of a Painter) (1908), p. 410

Life , Drawing

“The word science of administration has been used. There are many who object to the term. Now if by science is meant a conceptual scheme of things in which every particularity coveted may be assigned a mathematical value, then administration is not a science. In this sense only astro-physics may be called a science and it is well to remember that mechanical laws of the heavens tell us nothing about the color and composition of the stars and as yet cannot account for some of the disturbances and explosions which seem accidental. If, on the other hand, we may rightly use the term science in connection with a body of exact knowledge derived from experience and observation, and a body of rules or axioms which experience has demonstrated to be applicable in concrete practice, and to work out in practice approximately as forecast, then we may, if we please, appropriately and for convenience, speak of a science of administration. Once, when the great French mathematician, Poincaré, was asked whether Euclidean geometry is true, he replied that the question had no sense but that Euclidean geometry is and still remains the most convenient. The Oxford English Dictionary tells us that a science is, among other things, a particular branch of knowledge or study; a recognized department of learning.”

Charles A. Beard (1874–1948) American historian

Source: Philosophy, Science and Art of Public Administration (1939), p. 660-1

Law , Color , Star , Mathematics

“The ethnic composition of the population - and the particular mixture of nationalities, languages and cultures - is a matter of importance to all nations. The selection of immigrants should not be seen primarily as a test of which nationalities are best. It is more important to select immigrants with an eye to the collective effect on the nation. An immigration policy is not a symbol, a banner, of a nation's attitude to other peoples or races; and to reject potential immigrants is in no way to doubt the worthiness of their nationality or culture.”

Geoffrey Blainey book All for Australia

All for Australia (1984)

People , Way

“You see the rivers running east. Then you see mountains rise. Rivers run off them to the west. Mountains come up like waves. They crest, break, and spread themselves westward. When they are spent, there is an interval of time, and then again you see the rivers running eastward. You look over the shoulder of the painter and you see all that in the landscape. You see it if first you have seen it in the rock. The composition is almost infinitely less than the sum of its parts, the flickers and glimpses of a thousand million years.”

John McPhee (1931) American writer

In Suspect Terrain (1983), reprinted in Annals of the Former World (2000) page 209.

Mountain , Time , Parting

“As you can see this is a composition of vertical and horizontal lines which will (in an abstract manner) have to express the idea of rising upwards, of magnitude. This is the same idea which used, for example, to be the guiding principle in the construction of cathedrals. Since only the manner of expression and not the representation has to express this general idea, I have not given any title. An abstract human mind will, of itself, receive the intended impression. I always confine myself to expressing the general.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote in Mondrian's letter to Theo van Doesburg, Amsterdam, 1915; as cited in Letters of the great artists, Richard Friedenthal, Thames and Hudson, London, 1963, p. 234 (transl. Daphne Woodward)
1910's

Idea

“The trends that produced Schumann’s early piano works started out not so much from Weber’s refined brilliance as from Schubert’s more intimate and deeply soul-searching idiom. His creative imagination took him well beyond the harmonic sequences known until his time. He looked at the fugues and canons of earlier composers and discovered in them a Romantic principle. In the interweaving of the voices, the essence of counterpoint found its parallel in the mysterious relationships between the human psyche and exterior phenomena, which Schumann felt impelled to express. Schubert’s broad melodic lyricism has often been contrasted with Schumann’s terse, often quickly repeated motifs, and by comparison Schumann is often erroneously seen as short-winded. Yet it is precisely with these short melodic formulae that he shone his searchlight into the previously unplumbed depths of the human psyche. With them, in a complex canonic web, he wove a dense tissue of sound capable of taking in and reflecting back all the poetical character present. His actual melodies rarely have an arioso form; his harmonic system combines subtle chromatic progressions, suspensions, a rapid alternation of minor and major, and point d’orgue. The shape of Schumann’s scores is characterized by contrapuntal lines, and can at first seem opaque or confused. His music is frequently marked by martial dotted rhythms or dance-like triple time signatures. He loves to veil accented beats of the bar by teasingly intertwining two simultaneous voices in independent motion. This highly inde-pendent instrumental style is perfectly attuned to his own particular compositional idiom. After a period in which the piano had indulged in sensuous beauty of sound and brilliant coloration, in Schumann it again became a tool for conveying poetic monologues in musical terms.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Love , Beauty , Music , Color

“That landscape painter who does not make his skies a very material part of his composition, neglects to avail himself of one of his greatest aids. Sir Joshua Reynolds speaking of the "Landscape" of Titian & Salvator & Claude says 'Even their skies seem to sympathise with the Subject.' I have often been advised to consider my sky as a 'hite Sheet thrown behind the Objects'. Certainly, if the sky is 'obtrusive,' (as mine are) it is bad, but if they are 'evaded' (as mine are not) it is worse, they must and always shall with me make an effectual part of the composition. It will be difficult to name a class of landscape in which the sky is not the 'key note,' the 'standard of Scale' and the chief 'Organ of sentiment.'”

John Constable (1776–1837) English Romantic painter

You may conceive, then, what a "white sheet" would do for me, impressed as I am with these notions.
Letter to Rev. John Fisher (23 October 1821), as quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 42
1820s

Parting

“As Amish say "There is a vast difference between putting your nose in other people's business and putting your heart in other people's problems,” and there is also a vast difference between using the ‘grammar of language’ and the ‘grammar of painting’. In a language we have subjects, adjectives, verbs, and so on, and in painting we have light, composition, geometric planes, and lines. It is by using this grammar that one can understand a work of art. This is very similar to Ferdinand Saussure’s, distinction between “la langue” and “la parole” for interpretation of written words.”

Guity Novin (1944) artist

Dialogues on enlightenment and reason (2013)

People , Art , Understanding , Business

“The American uppermiddle-class citizen is a composite of negatives. He is largely delineated by what he is not.”

William S. Burroughs book Junkie

Junkie (1953)

“A builder. A rough and ready plasterer. A colour grinder. He Courbet is like a Roman bricklayer. And yet he's another true painter. There's no one in this century that surpasses him. Even though he rolls up his sleeves, plugs up his ears, demolishes columns, his workmanship is classical!... His view was always compositional. His vision remained traditional. Like his palette-knife, he used it only out of doors. He was sophisticated and brought his work to a high finish... His great contribution is the poetic introduction of nature - the smell of damp leaves, mossy forest cuttings - into nineteenth century painting; the murmur of rain, woodlands shadows, sunlight moving under trees. The sea. And snow, he painted snow like no one else!”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 198 in: 'What he told me – II. The Louvre'

Nature , Tree , Painting , Sea

“Ever since my childhood, I was haunted by the search for perfection. An imperfectly cut paper literally made me ill, I would guillotine it. My collages came undone, they became blistered. I then introduced death and decay in my compositions. I reacted by avoiding any precision from one day to another. Instead of cutting the paper, I would tear it with my hands.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 431

Death , Search , Tear , Childhood

“Clay masonry, like concrete, is a "plastic" material that permits the pouring in situ of large monoliths of any shape or form, with certain limitations and by using special methods. Its economical possibilities when used in walls of popular housing, its excellent heat and sound insulation, as well as its aesthetic possibilities, should not be underestimated. Its resistance and durability can be substantially improved by using modern techniques and methods, for example, admixture of small amounts of Portland cement in accordance with granulometric investigation, petrographic composition, and rheological behaviour of all constituents.”

Eduardo Torroja (1899–1961) Spanish architect

Philosophy of Structures (1958)

Housing

“A composite is a euphemism for a lie. It's disorderly. It's dishonest and it's not journalism.”

Fred W. Friendly (1915–1998) President of CBS News

Commenting on New Yorker staff writer Alastair Reid's use of composite characters.
p. 65, The interplay of influence: mass media and their publics in news, advertising, politics, Wadsworth series in mass communication, Kathleen Hall Jamieson, Karlyn Kohrs Campbell, Edition 2, Wadsworth, 1988.

Lie

“The sky is the 'source of light' in nature, and governs every thing. Even our common observations on the weather of every day, are suggested by them, but it does not occur to us. Their difficulty in painting both as to composition and execution is very great, because, with all their brilliancy and consequence, they ought not to come forward, or be hardly thought about in a picture… I know very well what I am about, and that my skies have not been neglected, though they have often failed in execution, no doubt, from an over-anxiety about them, which will alone destroy that easy appearance which nature always has in all her movements.”

John Constable (1776–1837) English Romantic painter

Letter to Rev. John Fisher (23 October 1821), as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 229 and also in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 42
1820s

Nature , Light , Appearance , Painting

“Since I was a child, I’ve used my imagination to escape from life. At the same time, my imagination has plagued me with both reality-based anxieties as well as anxieties based entirely in the imagination, such as the fear of Hell I was taught to have by the Catholic Church. Paired with a talent for literary composition, a talent that it took me over ten years to refine, I became a writer of horror stories. To my mind, writing is the most important form of human expression, not only artistic writing but also philosophical writing, critical writing, etc. Art as such, especially programmatic music such as operas, seems trivial to me by comparison, however much pleasure we may get from it. Writing is the most effective way to express and confront the full range of the realities of life. I can honestly say that the primary stature I attach to writing is not self-serving. I’ve been captivated to some degree by all forms of creativity and expression—the visual arts, film, design of any sort, and especially music. In college I veered from literature to music for a few years, which is the main reason it took me six years to get an undergraduate degree in liberal arts. I’ve loved music for as long as I can remember. Since my instrument is the guitar, I know every form and style in its history and have written the classical, acoustic, and electric forms of this instrument. I think because I have had such a love and understanding of music do I realize, to my grief, its limitations. Writing is less limited in the consolations it offers to those who have lost a great deal in their lives. And it continues to console until practically everything in a person’s life has been lost. Words and what they express have the best chance of returning the baneful stare of life.”

Thomas Ligotti (1953) American horror author

Wonderbook Interview with Thomas Ligotti http://wonderbooknow.com/interviews/thomas-ligotti/

Love , Life , Pleasure , Fear

“As to the origin of life, any life, I thought, we remain ignorant. Our science theorizes about the beginning of the cosmos or the birth of life. Our religions postulate endless versions of a man-God, hardly more rational than we are, as the Creator. In the past I have sometimes thought that maybe life is meaningless after all. Then I'd think that maybe the Seth material is a kind of cosmic poppycock -- the chemical composition of my mind somehow intelligent enough to understand the irony of its own meaninglessness, then spinning desperate yarns, as many psychologists would say; futile fantasies leading nowhere. But then I'd think that a brain that could conceive or order somehow had to emerge from a greater order. Besides that, earlier I hadn't realized (I thought, feeling better) that science and religion had spun some pretty weird yarns themselves, and if poppycock was being measured on a scale of one to ten, in my book anyhow they'd each get a twelve and a gold star.”

Jane Roberts (1929–1984) American Writer

Source: The God of Jane: A Psychic Manifesto (1981), p. 51

Life , God , Books , Religion

“In the spirit of enthusiasm or vanity, the prophet [Muhammad] rests the truth of his mission on the merit of his book; audaciously challenges both men and angels to imitate the beauties of a single page; and presumes to assert that God alone could dictate this incomparable performance. This argument is most powerfully addressed to a devout Arabian, whose mind is attuned to faith and rapture; whose ear is delighted by the music of sounds; and whose ignorance is incapable of comparing the productions of human genius… If the composition of the Koran exceed the faculties of a man to what superior intelligence should we ascribe the Iliad of Homer, or the Philippics of Demosthenes?”

Edward Gibbon (1737–1794) English historian and Member of Parliament

EGPaIV" Edward Gibbon, [1788], Decline and Fall of the Roman Empire http://www.sacred-texts.com/cla/gibbon/05/daf05010.htm, Vol. 5, Chapter L: Description Of Arabia And Its Inhabitants. Part IV.
The Decline And Fall Of The Roman Empire: Volume 1 (1776)

Men , God , Truth , Books

“Only when the habit of one's consciousness to see in paintings bits of nature, Madonna's and shameless nudes.... has disappeared, shall we see a pure painting composition. I have transformed myself into the nullity of forms and pulled myself out of the circle of things, out of the circle-horizon in which the artist and forms of nature are locked.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

as quoted in: Marc Chagall, – a Biography, Sidney Alexander, Cassell, London, 1978, p. 178
1910 - 1920

Nature , Painting

“The original idea, the sketch, which is so to speak the egg or embryo of the idea, is usually far from being complete; it contains everything, which is simply a mixing together of all parts. Just the thing that makes of this sketch the essential expression of the idea is not the suppression of details, but their complete subordination to the big lines, which are, before all else, to create the impression. The greatest difficulty therefore is that of returning in the picture to that effacing of the details which, however, make up the composition, the web and the woof of the picture.”

Eugène Delacroix (1798–1863) French painter

quote in 1854, in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 234 – 235
1831 - 1863

Idea , Parting

“If in the case of a notion whose specialisations form a continuous manifoldness, one passes from a certain specialisation in a definite way to another, the specialisations passed over form a simply extended manifoldness, whose true character is that in it a continuous progress from a point is possible only on two sides, forwards or backwards. If one now supposes that this manifoldness in its turn passes over into another entirely different, and again in a definite way, namely so that each point passes over into a definite point of the other, then all the specialisations so obtained form a doubly extended manifoldness. In a similar manner one obtains a triply extended manifoldness, if one imagines a doubly extended one passing over in a definite way to another entirely different; and it is easy to see how this construction may be continued. If one regards the variable object instead of the determinable notion of it, this construction may be described as a composition of a variability of n + 1 dimensions out of a variability of n dimensions and a variability of one dimension.”

Bernhard Riemann (1826–1866) German mathematician

On the Hypotheses which lie at the Bases of Geometry (1873)

Way , Imagination

“The more freely abstract the form becomes, the purer, and also the more primitive it sounds. Therefore, in a composition in which corporeal elements are more or less superfluous, they can be more or less omitted and replaced by purely abstract forms, or by corporeal forms that have been completely abstracted... Here we are confronted by the question: Must we not then renounce the object altogether, throw it to the winds and instead lay bare the purely abstract? This is a question that naturally arises, the answer to which is at once indicated by an analysis of the concordance of the two elements of form (the objective and the abstract). Just as every word spoken (tree, sky, man) awakens an inner vibration, so too does every pictorially represented object. To deprive oneself of the possibility of this calling up vibrations would be to narrow one's arsenal of expressive means. At least, that is how it is today. But apart from today's answer, the above question receives the eternal answer to every question in art that begins with 'must.”

Wassily Kandinsky (1866–1944) Russian painter

There is no 'must' in art, which is forever free.
Quote from: Kandinsky: Complete Writings on Art, eds. Kenneth C. Lindsay and Peter Vergo, 2 Vols. (transl. Peter Vergo); Boston: G.K. Hall & Co., (1982), p. 195; as cited in: Samet, Jennifer Sachs. Painterly Representation in New York, 1945-1975. Dissertation, The City University of New York, 2010. p. 25
1910 - 1915

Art , Question , Nature , Tree

“…Stevens does not think of inspiration (or whatever you want to call it) as a condition of composition. He too is waiting for the spark from heaven to fall—poets have no choice about this—but he waits writing; and this—other things being equal, when it’s possible, if it’s possible—is the best way for a poet to wait.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“The Collected Poems of Wallace Stevens”, p. 66
The Third Book of Criticism (1969)

Way , Thinking , Waiting

“But having invited them here, having accepted their great and varied contributions to the building of the Nation, it is for us to maintain in all good faith those liberal institutions and traditions which have been so productive of good. The bringing together of all these different national, racial, religious, and cultural elements has made our country a kind of composite of the rest of the world, and we can render no greater service than by demonstrating the possibility of harmonious cooperation among so many various groups. Every one of them has something characteristic and significant of great value to cast into the common fund of our material, intellectual, and spiritual resources.”

Calvin Coolidge (1872–1933) American politician, 30th president of the United States (in office from 1923 to 1929)

1920s, Toleration and Liberalism (1925)

World , Faith , Country

“Collections of all twelve pitch classes can be differentiated from one another only by assigning an order to the pitch classes or by partitioning them into mutually exclusive sub-collections. The ordering principle is the basis of the twelve-tone system formulated by Schoenberg, the partitioning principle the basis of the system formulated around the same time by Hauer. In Schoenberg's compositional practice, however, the concept of a segmental pitch-class content is represented as well, as a basis for the association of paired inversionally related set forms. On the relation between Schoenberg and Hauer see Bryan R. Simms, "Who First Composed Twelve-Tone Music, Schoenberg or Hauer?" Journal of the Arnold Schoenberg Institute X/2”

George Perle (1915–2009) American composer

November 1987
Page 101, note 2
The Listening Composer

Music , Time

“The simple organization of a people into a national body, composite or otherwise, is of itself an impressive fact. As an original proceeding, it marks the point of departure of a people, from the darkness and chaos of unbridled barbarism, to the wholesome restraints of public law and society. It implies a willing surrender and subjection of individual aims and ends, often narrow and selfish, to the broader and better ones that arise out of society as a whole. It is both a sign and a result of civilization. A knowledge of the character, resources and proceedings of other nations, affords us the means of comparison and criticism, without which progress would be feeble, tardy, and perhaps, impossible. It is by comparing one nation with another, and one learning from another, each competing with all, and all competing with each, that hurtful errors are exposed, great social truths discovered, and the wheels of civilization whirled onward.”

Frederick Douglass (1818–1895) American social reformer, orator, writer and statesman

1860s, Our Composite Nationality (1869)

People , Truth , Law , Error

“a) The definition of history? Every historian would agree, I think, that history is a kind of research or inquiry. What kind of inquiry it is I do not yet ask. The point is that generically it belongs to what we call the sciences: that is, the forms of thought whereby we ask questions and try to answer them. Science in general, it is important to realize, does not consist in collecting what we already know and arranging it in this or that kind of pattern. It consists in fastening upon something we do not know, and trying to discover it. Playing patience with things we already know may be a useful means towards this end, but it is not the end itself. It is at best only the means. It is scientifically valuable only in so far as the new arrangement gives us the answer to a question we have already decided to ask. That is why all science begins from the knowledge of our own ignorance: not our ignorance of everything, but our ignorance of some definite thing-the origin of parliament, the cause of cancer, the chemical composition of the sun, the way to make a pump work without muscular exertion on the part of a man or a horse or some other docile animal. Science is finding things out: and in that sense history is a science.”

R. G. Collingwood (1889–1943) British historian and philosopher

Source: The Idea of History (1946), p. 9

Way , History , Question , Knowledge

“Robert [Grosseteste] became much interested in science and scientific method … He was conscious of the dual approach by means of induction and deduction (resolution and composition); i. e., from the empirical knowledge one proceeds to probable general principles, and from these as premises one them derives conclusions which constitute verifications or falsifications of the principles. This approach to science was not that far removed from Aristotle …”

Carl B. Boyer (1906–1976) American mathematician

Source: The Rainbow: From Myth to Mathematics (1959), p. 88

Knowledge , Science

“There seems to be a general consensus of opinion among modern scholars that the Bhagavadgītā, as it now appears in the Epic, is not an original poem composed by a single hand, but an ancient work, rewritten and enlarged. But all are not agreed as to the history of the poem's composition.”

W. Douglas P. Hill (1884–1962) British Indologist

Source: The Bhagavadgītā (1973), p. 18. (12. The composition of the Bhagavadgītā)

History , Appearance

“The point of recapitulation in the first movement of Beethoven's Ninth Symphony unleashes one of the most horrifyingly violent episodes in the history of music…. The point is not to hold up Beethoven as exceptionally monstrous. The Ninth Symphony is probably our most compelling articulation in music of the contradictory impulses that have organized patriarchal culture since the Enlightenment. Moreover, within the parameters of his own musical compositions, he may be heard as enacting a critique of narrative obligations that is…devestating.”

Susan McClary (1946) American musicologist

McClary, Susan (1991). Feminine Endings: Music, Gender, and Sexuality, p. 128-129. Minnesota: University of Minnesota Press. ISBN 0816618984.

Music , History

“The achievement of such a change of register through a sequential progression is a familiar procedure in the music of the "common practice." The significant distinction is that where Berg subdivides the registral span into equal, i. e., cyclic, intervals, his tonal predecessors subdivide it, in changing register through sequential transference, into the unequal intervals of the diatonic scale. As I pointed out in my last lecture, however, the qualitative transformation in the language of music which we have experienced in our century has a long prehistory. Beginning with Schubert, we occasionally find normal diatonic functions questioned in changes of key that progress along the intervals of the whole-tone scale, or the diminished-7th chord, or the augmented triad. An even more radical example of a cyclic progression in a tonal composition is…from Wagner”

George Perle (1915–2009) American composer

Die Walkure, Act III
Page 96
The Listening Composer

Music , Question , Change

“I will look through 200 photographs of Kate Moss and there will be just one that I connect with for some reason, maybe because of the composition or something in the eye… Something touches me and I know I have to paint it, in the way a child knows it wants something.”

Stella Vine (1969) English artist

Eyre, Hermione. "Stars in her eyes" http://findarticles.com/p/articles/mi_qn4159/is_20070715/ai_n19372031, The Independent on Sunday (2007-07-15), retrieved from findarticles.com
On Kate Moss.

Way , Painting

“Antique art has come down to us in a fragmentary condition, and we have virtuously adapted our taste to this necessity. Almost all our favorite specimens of Greek sculpture, from the sixth century onward, were originally parts of compositions, and if we were faced with the complete group in which the Charioteer of Delphi was once a subsidiary figure, we might well experience a moment of revulsion. We have come to think of the fragment as more vivid, more concentrated, and more authentic.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Source: The Nude: A Study in Ideal Form (1951), Ch. VI: Pathos

Art , Thinking , Parting