Quotes about dynamics
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“In concept a feedback system is a closed system. Its dynamic behavior arises within its internal structure. Any action which is essential to the behavior of the mode being investigated must be included inside the system boundary.”

Jay Wright Forrester (1918–2016) American operations researcher

Source: Principles of Systems (1968), p. 4-1 as cited in: Richardson, George P. " Reflections on the foundations of system dynamics http://obssr.od.nih.gov/issh/2012/files/Richardson%202011.pdf." System Dynamics Review 27.3 (2011): 219-243.

El Lissitsky photo
David McNally photo

“Genuine growth is always dialogical — it requires engagement in a dynamic, developing, and open-ended dialogue.”

David McNally (1953) Canadian political scientist

Source: Another World Is Possible : Globalization and Anti-capitalism (2002), Chapter 7, Freedom Song, p. 231

Mitt Romney photo
Ragnar Frisch photo
Jean Baudrillard photo
John Dewey photo
Henry Adams photo
Kazimir Malevich photo

“Dynamism is also the forming formula for Futurists works; i. e. dynamism is the additional element that transforms the perception of one state of phenomena to another, for example, from a static to a dynamic perception.”

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

Quote c. 1915 in 'Cubofuturism', Malevich, in his Essays on Art, op. cit., vol 2; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 59
1910 - 1920

Roger Penrose photo
Alex Salmond photo
Edward A. Shanken photo
Samuel Butler photo
Hermann Rauschning photo

“The radical dynamism into which National Socialism has developed is a dangerous, destructive fever, which spreads at an uncanny rate.”

Hermann Rauschning (1887–1982) German politician

Source: The Revolution of Nihilism: Warning to the West (1939), p. 253

John Zerzan photo
Philip K. Dick photo

“Madness has its own dynamism. It just goes on.”

VALIS (1981)

John Zerzan photo
Jeffrey D. Sachs photo
Olly Blackburn photo

“Blackburn also took an interest in the dynamics of friendships between men and the psychological games that can become part of this.”

Olly Blackburn Film director and screenwriter

[Film4, Channel Four Television Corporation, http://www.film4.com/features/article/olly-blackburn-and-david-bloom-on-donkey-punch, 23 February 2012, Olly Blackburn and David Bloom on Donkey Punch, 2008]
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Umberto Boccioni photo

“The gesture which we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall simply be the dynamic sensation itself. Indeed, all things move, all things run, all things are rapidly changing... We would at any price re-enter into life.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 23.
1910, Manifesto of Futurist Painters,' April 1910

Albert Gleizes photo
Rollo May photo
Nannie Helen Burroughs photo

“For a number of years there has been a righteous discontent, a burning zeal to go forward in His name among the Baptist women of our churches and it will be the dynamic force in the religious campaign at the opening of the 20th century.”

Nannie Helen Burroughs (1879–1961) American activist

How the Sisters Are Hindered from Helping September 1900 National Baptist Convention.
Speech given at 1900 National Baptist Convention, Richmond Virginia.

Lee Smolin photo
Fritjof Capra photo
Peter F. Drucker photo

“Total actions are a further development of the happening and combine the elements of all art forms, painting music, literature, film, theatre, which have been so infected by the progressive process of cretinisation in our society that any examination of reality has become impossible using these means alone. Total actions are the unprejudiced examination of all the materials that make up reality. Total actions take place in a consciously delineated area of reality with deliberately selected materials. They are partial, dynamic occurrences in which the most varied materials and elements of reality are linked, swapped over, turn on their heads and destroyed. This procedure creates the occurrence. The actual nature of the occurrence depends on the composition of the material and actors′ unconscious tendencies. Anything may constitute the material: people, animals, plants, food, space, movement, noise, smells, light, fire, coldness, warmth, wind, dust, steam, gas, events, sport, all art forms and all art products. All the possibilities of the material are ruthlessly exhausted. As a result of the incalculable possibilities for choices that the material presents to the actor, he plunges into a concentrated whirl of action finds himself suddenly in a reality without barriers, performs actions resembling those of a madman, and avails himself of a fool′s privileges, which is probably not without significance for sensible people. Old art forms seek to reconstruct reality, total actions unfold within reality itself. Total actions are direct occurrences(direct art), not the repetition of an occurrence, a direct encounter between unconscious elements and reality(material). The actor performs and himself becomes material: stuttering, stammering, burbling, groaning, choking, shouting, screeching, laughing, spitting, biting, creeping, rolling about in the material.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 166 (1966/1972)

Hermann Rauschning photo
Gino Severini photo
Alfred de Zayas photo
Sarvepalli Radhakrishnan photo

“Yet more complex are the environments we have called turbulent fields. In these, dynamic processes, which create significant variances for the component organizations, arise from the field itself.”

Fred Emery (1925–1997) Australian psychologist

Source: The Causal Texture of Organizational Environments (1963), p. 30.

“Follett was always preoccupied with the dynamic view of organization, with the thing in process, so to speak. Authority, Power, Leadership, the Giving of Orders, Conflict, Conciliation — all her keywords are active words. There is a static or structural approach to the problem of organization which has its value; but those who are most convinced of the importance of such structural analysis would be the first to admit that it is only a step on the journey, an instrument of thought; it is not and cannot be complete in itself; it is only the anatomy of the subject. As in medicine, the study of anatomy may be an essential discipline, but it is in the physiology and psychology of the individual patient that that discipline finds its working justification.
Thus the four principles which she finally arrived at to express her view of organization were all active principles. In her own words, they are:
"1. Co-ordination by direct contact of the responsible people concerned.
2. Co-ordination in the early stages.
3. Co-ordination as a reciprocal relating of all the features in a situation.
4. Co-ordination as a continuing process."”

Henry C. Metcalf (1867–1942) American business theorist

Since these principles are carefully explained and illustrated by Miss Follett herself in the final paper in this volume, we must content ourselves here with merely this concise statement of them.
Source: Dynamic administration, 1942, p. xxvi

Samuel Hahnemann photo
Sarah Schulman photo
Samuel Bowles photo
Ervin László photo
John Hicks photo
Genco Gulan photo

“Istanbul these days has as much dynamism as New York.”

Genco Gulan (1969) contemporary artist

Foroohar, Rana and Matthews, Owen. (Aug 28, 2005). Turkish Delight http://archive.is/20130104232516/www.thedailybeast.com/newsweek/2005/08/28/turkish-delight.html. Newsweek. Retrieved 2012-06-01.

Ragnar Frisch photo

“When I asked Sergio Mendes why he still called his group Brasil '66 in 1967, he said "'66 was a very good year!" That's his group and the French song from The Umbrellas of Cherbourg. It's not one of their better tracks. Some of the things they've done I have enjoyed tremendously, though it's getting to the point where he's had commercial success doing what he's doing, so it's now somewhere in between strong Brazilian music and quasi-rock. Joao Palma is an excellent drummer. Here they have John Pisano of the Tijuana Brass playing an amplified guitar. He is one of the few people who, on the regular amplified guitar, has really got the Brazilian thing down. He can play in the Baden Powell style, which is so compelling and so dynamic. Sergio is usually a much more melodic pianist, but here he's trying to give a hardness and vitality to the over-all commercial sound, and he comes out lacking what he usually has—his lines are usually very smoothly melodic. This has nothing to do with jazz, but I find it pleasant; on the other hand, some of the things they do, like O Pato [from Mendes' previous album], or some of the faster things, I enjoy much more. Two stars.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

Reviewing Mendes' recording of Michel Legrand's '"Watch What Happens," from the album Equinox; as quoted in "Clare Fischer: Blindfold Test" http://www.mediafire.com/view/fix6ane8h54gx/Clare_Fischer#2nmgk677qzm4cnu

Joel Mokyr photo

“It serves to remind us that, in trying to explain the globalization of economic activity, we are dealing with the workings of a dynamic capitalist market system, and not just individual agents within it.”

Peter Dicken (1938) British geographer

Source: Global Shift (2003) (Fourth Edition), Chapter 7, Transnational Corporations, p. 202

Thomas Carlyle photo
Mata Amritanandamayi photo
Umberto Boccioni photo

“[to erect].... a new altar throbbing with dynamism as pure and exultant as those which were elevated to divine mystery through religious contemplation.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

In Boccioni's letter to Nino Barbantini, 1913; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008.
1913

Herbert Marcuse photo

“In the most advanced areas of this civilization, the social controls have been introjected to the point where even individual protest is affected at its roots. The intellectual and emotional refusal “to go along” appears neurotic and impotent. This is the socio-psychological aspect of the political event that marks the contemporary period: the passing of the historical forces which, at the preceding stage of industrial society, seemed to represent the possibility of new forms of existence. But the term “introjection” perhaps no longer describes the way in which the individual by himself reproduces and perpetuates the external controls exercised by his society. Introjection suggests a variety of relatively spontaneous processes by which a Self (Ego) transposes the “outer” into the “inner.” Thus introjection implies the existence of an inner dimension distinguished from and even antagonistic to the external exigencies—an individual consciousness and an individual unconscious apart from public opinion and behavior. The idea of “inner freedom” here has its reality: it designates the private space in which man may become and remain “himself.” Today this private space has been invaded and whittled down by technological reality. Mass production and mass distribution claim the entire individual, and industrial psychology has long since ceased to be confined to the factory. The manifold processes of introjection seem to be ossified in almost mechanical reactions. The result is, not adjustment but mimesis: an immediate identification of the individual with his society and, through it, with the society as a whole. This immediate, automatic identification (which may have been characteristic of primitive forms of association) reappears in high industrial civilization; its new “immediacy,” however, is the product of a sophisticated, scientific management and organization. In this process, the “inner” dimension of the mind in which opposition to the status quo can take root is whittled down. The loss of this dimension, in which the power of negative thinking—the critical power of Reason—is at home, is the ideological counterpart to the very material process in which advanced industrial society silences and reconciles the opposition. The impact of progress turns Reason into submission to the facts of life, and to the dynamic capability of producing more and bigger facts of the same sort of life. The efficiency of the system blunts the individuals' recognition that it contains no facts which do not communicate the repressive power of the whole. If the individuals find themselves in the things which shape their life, they do so, not by giving, but by accepting the law of things—not the law of physics but the law of their society.”

Source: One-Dimensional Man (1964), pp. 9-11

George W. Bush photo
Robert Fogel photo

“The work of the information officer [should be] regarded as the natural dynamic extension of that of the librarian.”

Douglas John Foskett (1918–2004)

Palmer and Foskett (1958, p. 1495) as cited in: Alistair Black et al. (2012) The Early Information Society: Information Management in Britain Before the Computer. p. 41

David Lloyd George photo
Zakir Hussain (politician) photo
P.G. Wodehouse photo
Kenneth Arrow photo
Zbigniew Brzeziński photo
Mike Watt photo
David Gross photo
Thomas Piketty photo
Chuck Klosterman photo
Francisco Varela photo

“The emergence of a unified cognitive moment relies on the coordination of scattered mosaics of functionally specialized brain regions. Here we review the mechanisms of large-scale integration that counterbalance the distributed anatomical and functional organization of brain activity to enable the emergence of coherent behaviour and cognition. Although the mechanisms involved in large-scale integration are still largely unknown, we argue that the most plausible candidate is the formation of dynamic links mediated by synchrony over multiple frequency bands.”

Francisco Varela (1946–2001) Chilean biologist

Francisco Varela*, Jean-Philippe Lachaux*, Eugenio Rodriguez, and Jacques Martinerie (2001) "The brainweb: phase synchronization and large-scale integration" in: Nature Rviews Vol 2. (April 2001). p. 229 ( online http://www.saminverso.com/brg/archive/varela%202001%20Brainweb-Phase%20synchronization%20and%20large%20scale%20integration.pdf)

Charles Stross photo

“True revolutionary doctrine teaches that the only law is rationalism and dynamic optimism.”

Source: Singularity Sky (2003), Chapter 11, “Circus of Death” (p. 234)

Christopher Langton photo

“Biological systems are dynamical, not easily predicted, and are creative in many ways… In the old equilibrium worldview, ideas about change were dominated by the action-reaction formula. It was a clockwork world, ultimately predictable in boring ways.”

Christopher Langton (1949) American computer scientist

Christopher Langton in: Roger Lewin (1990) Complexity: Life at the Edge of Chaos New York, Macmillan. p. 190 as cited in: Sohail Inayatullah (1994) " Evolution and Complexity http://www.metafuture.org/Articles/evolution-complexity.htm#_edn1"

Sarojini Naidu photo

“Sense of justice is one of the most wonderful ideals of Islam, because as I read in the Quran I find those dynamic principles of life, not mystic but practical ethics for the daily conduct of life suited to the whole world.”

Sarojini Naidu (1879–1949) Indian politician, governor of the United Provinces of Agra and Oudh from 1947 to 1949

Sarojini Naidu, Islam, 1 December 2013, Radio Islam http://www.radioislam.org.za/a/index.php?option=com_content&task=view&id=6322&Itemid=47,

W. Brian Arthur photo
Hillary Clinton photo
Karl Barth photo
Joan Robinson photo

“It is high time to abandon the mainstream and take to the turbulent waters of truly dynamic analysis.”

Joan Robinson (1903–1983) English economist

Source: Contributions to Modern Economics (1978), Chapter 11, The Meaning of Capital, p. 125

“He had come there dissatisfied with his work, even though his multi-kinetic work was admired and winning him professional recognition. However, at that moment, other ideas were gestating and he wanted to add what he called a "fifth dimension" to his art - that of artificial intelligence. […] : [At the colony, ] he was able to turn his thoughts inward, hoping to discover the new methods and direction that would more deeply satisfy his creative needs. It was at this point, while watching the motions and patterns of sun on leaves in the New Hampshire woods one morning, that Tsai finally achieved the revelatory breakthrough that changed his art and liberated his creative energies. As he put it, he wanted to create "natural movements in dynamic equilibrium, with intelligence," and he found his solution in an unlikely combination of natural phenomenon, the precedent of Gabo's singular (and unrepeated) kinetic sculpture, and the new resource of contemporary analog and digital technology. Speaking of this moment of revelation, Tsai said that he had quite deliberately turned himself into "a sort of plant": facing his chair into the sunshine in the morning, he turned his body in stages throughout the day, mulling over ways of make an "art that presented the observer with natural movements in dynamic equilibrium, and art that could convey the awe I felt while watching sunbeams shimmer through forest leaves." But a work that would "shimmer" simply did not do enough either for the artist or viewer, Tsai concluded. It must also respond in some way to the observer; it would have to work on a new feedback principle and actually engage the observer directly. In short, a cybernetic sculpture was required. To create such radically participatory works, he understood, would require that he draw on his engineering skills rather than suppress them, as he had been trying to do in his period of oil painting.”

Sam Hunter (1923–2014) American art historian

Source: The Cybernetic Sculpture of Tsai Wen-Ying, 1989, p. 67

Umberto Boccioni photo

“Let us explain again by examples. In painting a person on a balcony, seen from inside the room do not limit the scene to what the square of the window renders visible; we try to render the sum total of visual sensations which the person on the balcony has experienced; the sun-baked throng in the street, the double row of houses which stretch to right and left, the beflowered balconies etc. This implies the simultaneity of the ambient, and, therefore, the dislocation and the dislocation and dismemberment of objects, the scattering and fusion of details, freed from accepted logic and independent from one another. In order to make the spectator live in the center of the picture, as we express it in our manifesto the picture must be the synthesis of what one remembers and what one sees. You must render the invisible which stirs lives beyond intervening obstacles, what we have on the right, or the left, or behind us, and not merely the small square of life artificially compressed, as it were, by the wings of a stage set. We have declared in our manifesto that what must be rendered is the dynamic sensation, that is to say, the particular rhythm of each object, its inclination, its movement, or more exactly, its interior force.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Boccioni is referring in this quote to the 'Manifesto of Futurist Painters' of 1910, and its core Futurist concept of dynamic sensation; p. 47.
1912, Les exposants au public', 1912

Ilana Mercer photo
Ilya Prigogine photo