Quotes about concrete
page 4

Derren Brown photo
Roy A. Childs, Jr. photo
George Pólya photo
Mohamed ElBaradei photo
Ernesto Che Guevara photo
Warren Farrell photo

“When our binoculars are focused on the dad as “deadbeat,” it often even leads us to missing concrete cues a dad gives to show his desire to be involved.”

Warren Farrell (1943) author, spokesperson, expert witness, political candidate

Source: Father and Child Reunion (2001), p. 106.

José Ortega Y Gasset photo
Camille Paglia photo
Hans Arp photo

“A painting or sculpture not modeled on any real object is every bit as concrete and sensuous as a leaf or a stone.... [but] it is an incomplete art which privileges the intellect to the detriment of the senses... [art must be like.. ] fruit that grows in man, like a fruit on a plant or a child in it's mother's womb.”

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

Notes From a Dada Diary, published in 1932; as quoted by Anna Moszynska, in Abstract Art, Thames and Hudson, London, 1990, p. 113
1930s

Rudolf Rocker photo
Joseph Massad photo
Hermann Cohen photo
Roger Lea MacBride photo
Wyndham Lewis photo
Philip K. Dick photo
Vilém Flusser photo
Ralph Vary Chamberlin photo
Jane Roberts photo
Nelson Mandela photo
Martin Luther King, Jr. photo

“And I'm going on in believing in Him. You'd better know Him, and know His name, and know how to call His name. You may not know philosophy. You may not be able to say with Alfred North Whitehead that He's the Principle of Concretion. You may not be able to say with Hegel and Spinoza that He is the Absolute Whole. You may not be able to say with Plato that He's the Architectonic Good. You may not be able to say with Aristotle that He's the Unmoved Mover. But sometimes you can get poetic about it if you know Him. You begin to know that our brothers and sisters in distant days were right. Because they did know Him as a rock in a weary land, as a shelter in the time of starving, as my water when I'm thirsty, and then my bread in a starving land. And then if you can't even say that, sometimes you may have to say, "He's my everything. He's my sister and my brother. He's my mother and my father." If you believe it and know it, you never need walk in darkness. Don't be a fool. Recognize your dependence on God. As the days become dark and the nights become dreary, realize that there is a God who rules above. And so I’m not worried about tomorrow. I get weary every now and then. The future looks difficult and dim, but I’m not worried about it ultimately because I have faith in God.”

Martin Luther King, Jr. (1929–1968) American clergyman, activist, and leader in the American Civil Rights Movement

1960s, Why Jesus Called A Man A Fool (1967)

Oscar Niemeyer photo
Antoni Tàpies photo
Charles Sanders Peirce photo
Jacques Ellul photo
Louis Althusser photo
Herbert Marcuse photo

“The supremacy of thought (consciousness) also pronounces the impotence of thought in an empirical world which philosophy transcends and corrects — in thought. The rationality in the name of which philosophy passed its judgments obtained that abstract and general purity” which made it immune against the world in which one had to live. With the exception of the materialistic “heretics,” philosophic thought was rarely afflicted by the afflictions of human existence. Paradoxically, it is precisely the critical intent in philosophic thought which leads to the idealistic purifications critical intent which aims at the empirical world as a whole, and not merely at certain modes of thinking or behaving within it. Defining its concepts in terms of potentialities which are of an essentially different order of thought and existence, the philosophic critique finds itself blocked by the reality from which it dissociates itself, and proceeds to construct a realm of Reason purged from empirical contingency. The two dimensions of thought — that of the essential and that of — the apparent truths — no longer interfere with each other, and their concrete dialectical relation becomes an abstract epistemological or ontological relation. The judgments passed on the given reality are replaced by propositions defining the general forms of thought, objects of thought, and relations between thought and its objects. The subject of thought becomes the pure and universal form of subjectivity, from which all particulars are removed.”

Source: One-Dimensional Man (1964), pp. 135-136

“Art is the concrete representation of our most subtle feelings. That's the end”

Agnes Martin (1912–2004) American artist

of the interview
1980 - 2000, Perfection Is in the Mind', 1995

Gunnar Myrdal photo

“A comparative social science requires a generalized system of concepts which will enable the scientific observer to compare and contrast large bodies of concretely different social phenomena in consistent terms.”

Albert K. Cohen (1918–2014) American criminologist

David Aberle, Albert K. Cohen, A. K. Davis, Marion J. Levy Jr. and Francis X. Sutton, (1950). T"he functional prerequisites of a society." Ethics, 60(2), p. 100; cited in: Neil J. Smelser (2013), Comparative Methods in the Social Sciences. p. 189

Andrei Sakharov photo
Sarah Vowell photo
Johann Hari photo
Max Wertheimer photo
Sylvia Plath photo

“The abstract kills, the concrete saves.”

Sylvia Plath (1932–1963) American poet, novelist and short story writer

1959-01-07 http://books.google.com/books?id=4V7HOuom_I4C&q=%22The+abstract+kills+the+concrete+saves%22&pg=PA287#v=onepage
The Unabridged Journals of Sylvia Plath (2000)

Friedrich Hayek photo
Gregory Benford photo

“We are mainly interested in the processes… not… in presenting mathematics in its most abstract form. …we will often begin with concrete forms and then exhibit the process of abstraction.”

Richard Hamming (1915–1998) American mathematician and information theorist

Methods of Mathematics Applied to Calculus, Probability, and Statistics (1985)

Benjamin Graham photo
Miguel de Unamuno photo
Humberto Maturana photo
Hans Arp photo

“We [Hans Arp and Sophie Taeuber ] painted embroidered and made collages. All these works were drawn from the simplest forms and were probably the first examples of concrete art. These works are realities pure and independent with no meaning or cerebral intention. We rejected all mimesis and description, giving free reign to the elementary and spontaneous.”

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

Arp's quote, on the cooperation with his future wife Sophie Taeuber ca. 1916; as quoted in: Abstract Art, Anna Moszynska, Thames and Hudson, London, 1990, p. 65
1910-20s

Bill Engvall photo
Hans Arp photo
Victor Villaseñor photo
Paulo Freire photo
Harry Chapin photo
Mickey Spillane photo
Nick Cave photo
Salvador Dalí photo
Kurien Kunnumpuram photo

“The Church in India needs to take more seriously the option for the poor and take concrete steps to alleviate poverty and misery in India.”

Kurien Kunnumpuram (1931–2018) Indian theologian

Kunnumpuram, K. (ed) (2007) World Peace: An Impossible Dream? , Mumbai: St Pauls
On Peace

Ann Druyan photo

“Recently there's been a resurgence of rejection of evolution - possibly one of the most concrete and indisputable discoveries of science. To the extent that we deny this, we're wandering in the darkness.”

Ann Druyan (1949) American author and producer

Ann Druyan and the creators of Cosmos: ASO discuss science in a brief promotional video clip for the series entitled, "Science As A Candle In The Darkness" http://channel.nationalgeographic.com/cosmos-a-spacetime-odyssey/videos/science-as-a-candle-in-the-darkness/.

Victor Davis Hanson photo
Leonid Brezhnev photo
Eduardo Torroja photo
Piet Mondrian photo
John Maynard Keynes photo

“The study of economics does not seem to require any specialized gifts of an unusually high order. Is it not, intellectually regarded, a very easy subject compared with the higher branches of philosophy and pure science? Yet good, or even competent, economists are the rarest of birds. An easy subject, at which very few excel! The paradox finds its explanation, perhaps, in that the master-economist must possess a rare combination of gifts. He must reach a high standard in several different directions and must combine talents not often found together. He must be mathematician, historian, statesman, philosopher – in some degree. He must understand symbols and speak in words. He must contemplate the particular in terms of the general, and touch abstract and concrete in the same flight of thought. He must study the present in the light of the past for the purposes of the future. No part of man's nature or his institutions must lie entirely outside his regard. He must be purposeful and disinterested in a simultaneous mood; as aloof and incorruptible as an artist, yet sometimes as near the earth as a politician. Much, but not all, of this many-sidedness Marshall possessed. But chiefly his mixed training and divided nature furnished him with the most essential and fundamental of the economist's necessary gifts – he was conspicuously historian and mathematician, a dealer in the particular and the general, the temporal and the eternal, at the same time.”

John Maynard Keynes (1883–1946) British economist

Source: Essays In Biography (1933), Alfred Marshall, p. 170; as cited in: Donald Moggridge (2002), Maynard Keynes: An Economist's Biography, p. 424

El Lissitsky photo
Edward Lear photo

“His mind is concrete and fastidious,
His nose is remarkably big;
His visage is more or less hideous,
His beard it resembles a wig.”

Edward Lear (1812–1888) British artist, illustrator, author and poet

How Pleasant to Know Mr. Lear, st. 2.

Kurt Schwitters photo

“Architecture is the concrete presentment in space of the soul of a people.”

Claude Bragdon (1866–1946) American architect

Architecture and Democracy http://books.google.com/books?id=_88YAAAAYAAJ&q=%22Architecture+is+the+concrete+presentment+in+space+of+the+soul+of+a+people%22&pg=PA176#v=onepage (1918)

Hideo Kojima photo
Le Corbusier photo

“You employ stone, wood and concrete, and with these materials you build houses and palaces. That is construction. Ingenuity is at work.
But suddenly you touch my heart, you do me good, I am happy and I say: "This is beautiful."”

Le Corbusier (1887–1965) architect, designer, urbanist, and writer

That is Architecture. Art enters in.
Vers une architecture [Towards an Architecture] (1923)

Alfred Horsley Hinton photo

“…we might now formulate a maxim to the effect that art -- that is, in our case, pictorial representation --- employs the image of concrete things to create abstract ideas.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, The application of the foregoing principles, p. 13

Ludwig Feuerbach photo

“To understand how caste works concretely, one must, however, look beyond kinship organization and ritual idiom to the political economy of caste.”

Eric Wolf (1923–1999) American anthropologist

Source: Europe and the People Without History, 1982, Chapter 2, The World in 1400, p. 46.

Mikhail Kalinin photo
Robinson Jeffers photo
Eric Holder photo

“The Theatre of the Absurd, on the other hand, tends toward a radical devaluation of language, toward a poetry that is to emerge from the concrete and objectified images of the stage itself.”

Martin Esslin (1918–2002) Playwright, theatre critic, scholar

Introduction : The absurdity of the Absurd
The Theatre of the Absurd (1961)
Context: The "poetic avant-garde" relies on fantasy and dream reality as much as the Theatre of the Absurd does; it also disregards such traditional axioms as that of the basic unity and consistency of each character or the need for a plot. Yet basically the "poetic avant-garde" represents a different mood; it is more lyrical, and far less violent and grotesque. Even more important is its different attitude toward language: the "poetic avant-garde" relies to a far greater extent on consciously "poetic" speech; it aspires to plays that are in effect poems, images composed of a rich web of verbal associations.
The Theatre of the Absurd, on the other hand, tends toward a radical devaluation of language, toward a poetry that is to emerge from the concrete and objectified images of the stage itself. The element of language still plays an important part in this conception, but what happens on the stage transcends, and often contradicts, the words spoken by the characters. In Ionesco's The Chairs, for example, the poetic content of a powerfully poetic play does not lie in the banal words that are uttered but in the fact that they are spoken to an ever-growing number of empty chairs.

Franklin D. Roosevelt photo

“A statesman deals with concrete difficulties — with things which must be done from day to day. Not often can he frame conscious patterns for the far off future.”

Franklin D. Roosevelt (1882–1945) 32nd President of the United States

1930s, Address at the Dedication of the Memorial on the Gettysburg Battlefield (1938)
Context: It seldom helps to wonder how a statesman of one generation would surmount the crisis of another. A statesman deals with concrete difficulties — with things which must be done from day to day. Not often can he frame conscious patterns for the far off future. But the fullness of the stature of Lincoln's nature and the fundamental conflict which events forced upon his Presidency invite us ever to turn to him for help. For the issue which he restated here at Gettysburg seventy five years ago will be the continuing issue before this Nation so long as we cling to the purposes for which the Nation was founded — to preserve under the changing conditions of each generation a people's government for the people's good.

Alan Watts photo
Samuel Taylor Coleridge photo

“This power…reveals itself in the balance or reconcilement of opposite or discordant qualities: of sameness, with difference; of the general with the concrete; the idea with the image; the individual with the representative”

Source: Biographia Literaria (1817), Ch. XIV.
Context: This power... reveals itself in the balance or reconcilement of opposite or discordant qualities: of sameness, with difference; of the general with the concrete; the idea with the image; the individual with the representative; the sense of novelty and freshness with old and familiar objects; a more than usual state of emotion with more than usual order; judgment ever awake and steady self-possession with enthusiasm and feeling profound or vehement; and while it blends and harmonizes the natural and the artificial, still subordinates art to nature; the manner to the matter; and our admiration of the poet to our sympathy with the poetry.

Martin Luther King, Jr. photo

“Nowhere have the riots won any concrete improvement such as have the organized protest demonstrations. When one tries to pin down advocates of violence as to what acts would be effective, the answers are blatantly illogical.”

Martin Luther King, Jr. (1929–1968) American clergyman, activist, and leader in the American Civil Rights Movement

1960s, Where Do We Go from Here: Chaos or Community? (1967)
Context: Nowhere have the riots won any concrete improvement such as have the organized protest demonstrations. When one tries to pin down advocates of violence as to what acts would be effective, the answers are blatantly illogical. Sometimes they talk of overthrowing racist state and local governments and they talk about guerrilla warfare. They fail to see that no internal revolution has ever succeeded in overthrowing a government by violence unless the government had already lost the allegiance and effective control of its armed forces. Anyone in his right mind knows that this will not happen in the United States. Furthermore, few, if any, violent revolutions have been successful unless the violent minority had the sympathy and support of the non-resisting majority.

Arthur Stanley Eddington photo

“The man in the street is always making this demand for concrete explanation of the things referred to in science; but of necessity he must be disappointed.”

Arthur Stanley Eddington (1882–1944) British astrophysicist

Introduction http://www-groups.dcs.st-and.ac.uk/~history/Extras/Eddington_Gifford.html
The Nature of the Physical World (1928)
Context: Science aims at constructing a world which shall be symbolic of the world of commonplace experience. It is not at all necessary that every individual symbol that is used should represent something in common experience or even something explicable in terms of common experience. The man in the street is always making this demand for concrete explanation of the things referred to in science; but of necessity he must be disappointed. It is like our experience in learning to read. That which is written in a book is symbolic of a story in real life. The whole intention of the book is that ultimately a reader will identify some symbol, say BREAD, with one of the conceptions of familiar life. But it is mischievous to attempt such identifications prematurely, before the letters are strung into words and the words into sentences. The symbol A is not the counterpart of anything in familiar life.

John Galsworthy photo

“Art is that imaginative expression of human energy, which, through technical concretion of feeling and perception, tends to reconcile the individual with the universal, by exciting in him impersonal emotion.”

John Galsworthy (1867–1933) English novelist and playwright

Vague Thoughts On Art (1911)
Context: Art is that imaginative expression of human energy, which, through technical concretion of feeling and perception, tends to reconcile the individual with the universal, by exciting in him impersonal emotion. And the greatest Art is that which excites the greatest impersonal emotion in an hypothecated perfect human being.

Arthur Stanley Eddington photo

“We are no longer tempted to condemn the spiritual aspects of our nature as illusory because of their lack of concreteness.”

Arthur Stanley Eddington (1882–1944) British astrophysicist

Science and the Unseen World (1929), III, p.33

“The Theatre of the Absurd has renounced arguing about the absurdity of the human condition; it merely presents it in being — that is, in terms of concrete stage images.”

Martin Esslin (1918–2002) Playwright, theatre critic, scholar

Introduction : The absurdity of the Absurd
The Theatre of the Absurd (1961)
Context: The Theatre of the Absurd has renounced arguing about the absurdity of the human condition; it merely presents it in being — that is, in terms of concrete stage images. This is the difference between the approach of the philosopher and that of the poet; the difference, to take an example from another sphere, between the idea of God in the works of Thomas Aquinas or Spinoza and the intuition of God in those of St. John of the Cross or Meister Eckhart — the difference between theory and experience.

Julie Taymor photo

“The concrete world isn't necessarily the most powerful world.”

Julie Taymor (1952) American film and theatre director

Academy of Achievement interview (2006)
Context: The concrete world isn't necessarily the most powerful world. The world of the mind — whether you're watching Matrix or whatever — the world that's inside here has the power to do a lot of good and a lot of damage.