Quotes about expression
page 29

Godfrey Higgins photo
David Myatt photo
Jean Metzinger photo
E. M. S. Namboodiripad photo
Keith Olbermann photo
Noam Chomsky photo

“The deep structure that expresses the meaning is common to all languages, so it is claimed, being a simple reflection of the forms of thought.”

Noam Chomsky (1928) american linguist, philosopher and activist

"Deep and surface structure"
Quotes 2000s, 2007-09, (3rd ed., 2009)

Edward Thomson photo
Pope Benedict XVI photo
Roy Lichtenstein photo

“Folk music is always considered a good thing. There is a catch, however: it has to be "real" folk music, anonymous, evoking not an individual but a communal personality, expressive of the soil.”

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

Source: The Romantic Generation (1995), Ch. 7 : Chopin: From the Miniature Genre to the Sublime Style

William H. Starbuck photo

““Organization theory,” a term that appeared in the middle of the twentieth century, has multiple meanings. When it first emerged, the term expressed faith in scientific research as a way to gain understanding of human beings and their interactions. Although scientific research had been occurring for several centuries, the idea that scientific research might enhance understanding of human behavior was considerably newer and rather few people appreciated it. Simon (1950, 1952-3, 1952) was a leading proponent for the creation of “organization theory”, which he imagined as including scientific management, industrial engineering, industrial psychology, the psychology of small groups, human-resources management, and strategy. The term “organization theory” also indicated an aspiration to state generalized, abstract propositions about a category of social systems called “organizations,” which was a very new concept. Before and during the 1800s, people had regarded armies, schools, churches, government agencies, and social clubs as belonging to distinct categories, and they had no name for the union of these categories. During the 1920s, some people began to perceive that diverse kinds of medium-sized social systems might share enough similarities to form a single, unified category. They adopted the term “organization” for this unified category.”

William H. Starbuck (1934) American academic

William H. Starbuck and Philippe Baumard (2009). "The seeds, blossoming, and scant yield of organization theory," in: Jacques Rojot et. al (eds.) Comportement organisationnel - Volume 3 De Boeck Supérieur. p. 15

Muammar Gaddafi photo
Franz Marc photo
Carl von Clausewitz photo
Leo Tolstoy photo

“Higher progress can only be purchased by an economy of the work of lower progress, the free, conscious expression of higher individuality by the routine subordination of lower individuality.”

J.A. Hobson (1858–1940) English economist, social scientist and critic of imperialism

section 11, p. 422
The Evolution of Modern Capitalism: A Study of Machine Production (1906), Ch. XVII Civilisation and Industrial Development

Orson Welles photo

“The ideal American type is perfectly expressed by the Protestant, individualist, anti-conformist, and this is the type that is in the process of disappearing. In reality there are few left.”

Orson Welles (1915–1985) American actor, director, writer and producer

Quoted in an interview from Hollywood Voices, ed. Andrew Sarris (1971).

Shunryu Suzuki photo
Vincent Van Gogh photo

“My surroundings here [in the asylum St. Remy ] begin to weigh on me more than I can express - my word, I have had patience for more than a year - I need air, I feel overwhelmed with boredom and depression.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

Quote in his letter to brother Theo, from Saint-Rémy-de-Provence, France, May 1890; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, (letter 631), p. 26
1890s

“What ideas are convenient to express inevitably becomes the important content of a culture.”

Neil Postman (1931–2003) American writer and academic

Ch 1: Medium is the Metaphor, p. 7
Amusing Ourselves to Death: Public Discourse in the Age of Show Business (1985)

Joni Mitchell photo
Arnold Schoenberg photo

“I find above all that the expression, "atonal music," is most unfortunate — it is on a par with calling flying "the art of not falling," or swimming "the art of not drowning."”

Arnold Schoenberg (1874–1951) Austrian-American composer

"Hauer's Theories" (Notes of November 1923), in Style and Idea (1985), p. 210
1920s

Miguel de Unamuno photo
Richard Pipes photo
Jane Roberts photo
Narendra Modi photo
James Fenimore Cooper photo
William Wetmore Story photo

“Of every noble work the silent part is best,
Of all expression that which can not be expressed.”

William Wetmore Story (1819–1895) American sculptor, art critic, poet, translator and editor

The Unexpressed.
Bartlett's Familiar Quotations, 10th ed. (1919)

Abraham Joshua Heschel photo
Max Stirner photo
Daniel Handler photo
Philip Roth photo
Winston S. Churchill photo
Oscar Niemeyer photo
Jane Austen photo

“The scientistic sociologist wishes people to feel that he is just as empirical and thoroughgoing as the natural scientist, and that his conclusions are based just as relentlessly on observed data. The desire to present this kind of façade accounts, one may suspect, for the many examples and the extensive use of statistical tables found in the works of some of them. It has been said of certain novelists that they create settings having such a wealth of realistic detail that the reader assumes that the plot which is to follow will be equally realistic, when this may be far from the case. What happens is that the novelist disarms the reader with the realism of his setting in order that he may “get away with murder” in his plot. The persuasiveness of the scene is thus counted on to spill over into the action of the story. In like manner, when a treatise on social science is filled with this kind of data, the realism of the latter can influence our acceptance of the thesis, which may, on scrutiny, rest on very dubious constructs, such as definitions of units. Along with this there is sometimes a great display of scientific preciseness in formulations. But my reading suggests that some of these writers are often very precise about matters which are not very important and rather imprecise about matters which are. Most likely this is an offsetting process. If there are subjects one cannot afford to be precise about because they are too little understood or because one’s views of them are too contrary to traditional beliefs about society, one may be able to maintain an appearance of scientific correctness by taking great pains in the expressing of matters of little consequence. These will afford scope for a display of scholarly meticulousness and of one’s command of the scientific terminology.”

Richard M. Weaver (1910–1963) American scholar

“Concealed Rhetoric in Scientistic Sociology,” pp. 148-149.
Language is Sermonic (1970)

“When you destroy people's religious expression, they will establish secularized religions like Marxism.”

Carroll Quigley (1910–1977) American historian

Oscar Iden Lecture Series, Lecture 3: "The State of Individuals" (1976)

Albert Gleizes photo
Alexander Lukashenko photo

“People who speak Belarusian can not do anything except talk on it, because it is impossible to express anything great in Belarusian. The Belarusian language is a poor language. There are only two great languages in the world. Russian and English.”

Alexander Lukashenko (1954) President of Belarus since 20 July 1994

As quoted in Топ-10 самых скандальных и оскорбительных высказываний Лукашенко http://europeanbelarus.org/be/news/2012/2/24/3941/ // Civil campaign European Belarus, europeanbelarus.org (in Russian)

Karl Barth photo
Mark Satin photo

“Let me remind you that science is not necessarily wisdom. To know, is not the sole nor even the highest office of the intellect; and it loses all its glory unless it act in furtherance of the great end of man's life. That end is, as both reason and revelation unite in telling us, to acquire the feelings and habits that will lead us to love and seek what is good in all its forms, and guide us by following its traces to the first Great Cause of all, where only we find it pure and unclouded.
If science be cultivated in congruity with this, it is the most precious possession we can have— the most divine endowment. But if it be perverted to minister to any wicked or ignoble purpose — if it even be permitted to take too absolute a hold of the mind, or overshadow that which should be paramount over all, the perception of right, the sense of Duty — if it does not increase in us the consciousness of an Almighty and All-beneficent presence, — it lowers instead of raising us in the great scale of existence.
This, however, it can never do but by our fault. All its tendencies are heavenward; every new fact which it reveals is a ray from the origin of light, which leads us to its source. If any think otherwise, their knowledge is imperfect, or their understanding warped, or darkened by their passions. The book of nature is, like that of revelation, written by God, and therefore cannot contradict it; both we are unable to read through all their extent, and therefore should neither wonder nor be alarmed if at times we miss the pages which reconcile any seeming inconsistence. In both, too, we may fail to interpret rightly that which is recorded; but be assured, if we search them in quest of truth alone, each will bear witness to the other, — and physical knowledge, instead of being hostile to religion, will be found its most powerful ally, its most useful servant. Many, I know, think otherwise; and because attempts have occasionally been made to draw from astronomy, from geology, from the modes of the growth and formation of animals and plants, arguments against the divine origin of the sacred Scripture, or even to substitute for the creative will of an intelligent first cause the blind and casual evolution of some agency of a material system, they would reject their study as fraught with danger. In this I must express my deep conviction that they do injury to that very cause which they think they are serving.
Time will not let me touch further on the cavils and errors in question; and besides they have been often fully answered. I will only say, that I am here surrounded by many, matchless in the sciences which are supposed so dangerous, and not less conspicuous for truth and piety. If they find no discord between faith and knowledge, why should you or any suppose it to exist? On the contrary, they cannot be well separated. We must know that God is, before we can confess Him; we must know that He is wise and powerful before we can trust in Him, — that He is good before we can love Him. All these attributes, the study of His works had made known before He gave that more perfect knowledge of himself with which we are blessed. Among the Semitic tribes his names betoken exalted nature and resistless power; among the Hellenic races they denote his wisdom; but that which we inherit from our northern ancestors denotes his goodness. All these the more perfect researches of modern science bring out in ever-increasing splendour, and I cannot conceive anything that more effectually brings home to the mind the absolute omnipresence of the Deity than high physical knowledge. I fear I have too long trespassed on your patience, yet let me point out to you a few examples.
What can fill us with an overwhelming sense of His infinite wisdom like the telescope? As you sound with it the fathomless abyss of stars, till all measure of distances seems to fail and imagination alone gauges the distance; yet even there as here is the same divine harmony of forces, the same perfect conservation of systems, which the being able to trace in the pages of Newton or Laplace makes us feel as if we were more than men. If it is such a triumph of intellect to trace this law of the universe, how transcendent must that Greatest over all be, in which it and many like it, have their existence! That instrument tells us that the globe which we inhabit is but a speck, the existence of which cannot be perceived beyond our system. Can we then hope that in this immensity of worlds we shall not be overlooked? The microscope will answer. If the telescope lead to one verge of infinity, it brings us to the other; and shows us that down in the very twilight of visibility the living points which it discloses are fashioned with the most finished perfection, — that the most marvellous contrivances minister to their preservation and their enjoyment, — that as nothing is too vast for the Creator's control, so nothing is too minute or trifling for His care. At every turn the philosopher meets facts which show that man's Creator is also his Father, — things which seem to contain a special provision for his use and his happiness : but I will take only two, from their special relation to this very district. Is it possible to consider the properties which distinguish iron from other metals without a conviction that those qualities were given to it that it might be useful to man, whatever other purposes might be answered by them. That it should. be ductile and plastic while influenced by heat, capable of being welded, and yet by a slight chemical change capable of adamantine hardness, — and that the metal which alone possesses properties so precious should be the most abundant of all, — must seem, as it is, a miracle of bounty. And not less marvellous is the prescient kindness which stored up in your coalfields the exuberant vegetation of the ancient world, under circumstances which preserved this precious magazine of wealth and power, not merely till He had placed on earth beings who would use it, but even to a late period of their existence, lest the element that was to develope to the utmost their civilization and energy migbt be wasted or abused.
But I must conclude with this summary of all which I would wish to impress on your minds—* that the more we know His works the nearer we are to Him. Such knowledge pleases Him; it is bright and holy, it is our purest happiness here, and will assuredly follow us into another life if rightly sought in this. May He guide us in its pursuit; and in particular, may this meeting which I have attempted to open in His name, be successful and prosperous, so that in future years they who follow me in this high office may refer to it as one to be remembered with unmixed satisfaction.”

Robinson in his 1849 adress, as quoted in the Report of the Nineteenth Meeting of the British Association for the Advancement of Science https://archive.org/stream/report36sciegoog#page/n50/mode/2up, London, 1850.

Alfred Rosenberg photo
Prasanta Chandra Mahalanobis photo
Emil M. Cioran photo
R. G. Collingwood photo
Henri Matisse photo

“Drawing is like making an expressive gesture with the advantage of permanence.”

Henri Matisse (1869–1954) French artist

As quoted by in the review of 'The Drawings of Henri Matisse', exhibit at Manhattan's Museum of Modern Art, by Theodore F Wolff in The Christian Science Monitor (25 March 1985)
Posthumous quotes

Henry Temple, 3rd Viscount Palmerston photo
John Coleridge, 1st Baron Coleridge photo
Herbert Read photo

“The process of poetry consists firstly in maintaining this vision in its integrity and secondly in expressing this vision in words.”

Herbert Read (1893–1968) English anarchist, poet, and critic of literature and art

Form in Modern Poetry(1932)

Jack London photo
James Madison photo

“Resolved, That the General Assembly of Virginia, doth unequivocally express a firm resolution to maintain and defend the Constitution of the United States, and the Constitution of this State, against every aggression either foreign or domestic, and that they will support the Government of the United States in all measures warranted by the former.”

James Madison (1751–1836) 4th president of the United States (1809 to 1817)

Resolutions proposed to the Legislature of Virginia (21 December 1798), passed on 24 December; as published in the "Report of the Committee to whom were referred the Communications of various States, relative to the Resolutions of the last General Assembly of this State, concerning the Alien and Sedition Laws" (20 January 1800)
1790s

Andrew Sega photo

“I feel that music is the art which can best express the emotions which flow within us. It conveys something bigger than it is.”

Andrew Sega (1975) musician from America

NAID '95 http://www.club.cc.cmu.edu/pub/scene.org/parties/1995/naid95/misc/dn-naid_089.txt

Theo van Doesburg photo
Chinmayananda Saraswati photo
David Eugene Smith photo

“He used capital vowels for the unknown quantities and capital consonants for the known, thus being able to express several unknowns and several knowns.”

David Eugene Smith (1860–1944) American mathematician

Source: History of Mathematics (1925) Vol.2, p. 430; footnote

Peter Greenaway photo
Ai Weiwei photo

“Freedom of expression is a very essential condition for me to make any art. Also, it is an essential value for my life. I have to protect this right and also to fight for the possibility.”

Ai Weiwei (1957) Chinese concept artist

" Artist Ai Weiwei: China Crushes Dissenting Voices http://www.foxnews.com/world/2012/06/11/artist-ai-weiwei-china-crushes-dissenting-voices/.," in: Fox News, June 11, 2012.
2010-, 2012

John Marshall Harlan II photo
Henry Temple, 3rd Viscount Palmerston photo
John Muir photo
Kazimir Malevich photo
Emma Goldman photo
Louis Althusser photo
Clive Barker photo
Max Horkheimer photo

“ Every individual word in a passage or poetry can no more be said to denote some specific referent than does every brush mark, every line in a painting have its counterpart in reality. The writer or speaker does not communicate his thoughts to us; he communicates a representation for carrying out, this function under the severe discipline of using the only materials he has, sound and gesture. Speech is like painting, a representation made out of given materials -- sound or paint. The function of speech is to stimulate and set up thoughts in us having correspondence with the speaker's desires; he has then communicated with us. But he has not transmitted a copy of his thoughts, a photograph, but only a stream of speech -- a substitute made from the unpromising material of sound. The artist, the sculptor, the caricaturist, the composer are akin in this [fact that they have not transmitted a copy of their thoughts], that they express (make representations of) their thoughts using chosen, limited materials. They make the "best" representations, within these self-imposed constraints. A child who builds models of a house, or a train, using only a few colored bricks, is essentially engaged in the same creative task.* Metaphors can play a most forceful role, by importing ideas through a vehicle language, setting up what are purely linguistic associations (we speak of "heavy burden of taxation," "being in a rut"). The imported concepts are, to some extent, artificial in their contexts, and they are by no means universal among different cultures. For instance, the concepts of cleanliness and washing are used within Christendom to imply "freedom from sin." We Westerners speak of the mind's eye, but this idea is unknown amongst the Chinese. that is, we are looking at it with the eyes of our English-speaking culture. A grammar book may help us to decipher the text more thoroughly, and help us comprehend something of the language structure, but we may never fully understand if we are not bred in the culture and society that has modeled and shaped the language. (p. 74)”

Colin Cherry (1914–1979) British scientist

See Gombrich in reference 348
On Human Communication (1957), Language: Science and Aesthetics

Borís Pasternak photo
John Stuart Mill photo

“I have never known any man who could do such ample justice to his best thoughts in colloquial discussion. His perfect command over his great mental resources, the terseness and expressiveness of his language and the moral earnestness as well as intellectual force of his delivery, made him one of the most striking of all argumentative conversers: and he was full of anecdote, a hearty laugher, and, when with people whom he liked, a most lively and amusing companion. It was not solely, or even chiefly, in diffusing his merely intellectual convictions that his power showed itself: it was still more through the influence of a quality, of which I have only since learnt to appreciate the extreme rarity: that exalted public spirit, and regard above all things to the good of the whole, which warmed into life and activity every germ of similar virtue that existed in the minds he came in contact with: the desire he made them feel for his approbation, the shame at his disapproval; the moral support which his conversation and his very existence gave to those who were aiming to the same objects, and the encouragement he afforded to the fainthearted or desponding among them, by the firm confidence which (though the reverse of sanguine as to the results to be expected in any one particular case) he always felt in the power of reason, the general progress of improvement, and the good which individuals could do by judicious effort.”

Source: https://archive.org/details/autobiography01mill/page/101/mode/1up pp. 101-102

Enoch Powell photo
Francis Picabia photo
René Descartes photo
Asger Jorn photo

“There can be no question of selecting in any direction, but of a penetrating the whole cosmic law of rhythms, forces and material that are the real world, from the ugliest to the most beautiful, everything that has character and expression, from the crudest and most brutal to the gentlest and most delicate; everything that speaks to us in its capacity as life. From this it follows that one must know all in order to be able to express all. It is the abolition of the aesthetic principle. We are not disillusioned because we have no illusions; we have never had any. What we have and what is our strength, is our joy in life; our interest in life, in all its amoral aspects. That is also the basis of our contemporary art. We do not even know the laws of aesthetics. That old idea of selection according to the beauty-principle Beautiful — Ugly, like to ethical Noble — Sinful, is dead for us, for whom the beautiful is also ugly and everything ugly is endowed with beauty. Behind the comedy and the tragedy we find only life's dramas uniting both; not in noble heroes and false villains, but people.”

Asger Jorn (1914–1973) Danish artist

Variant translations:
What we possess and what gives us strength is our joy in life, our interest in life in all its amoral facets. This is also the foundation for today's art. We do not even know the aesthetic laws.
We are not disillusioned because we have no illusions; we have never had any. What we have, and what constitutes our strength, is our joy in life, in all of its moral and amoral manifestations.
1940 - 1948, Intimate Banalities' (1941)

Alain de Botton photo

“I passed by a corner office in which an employee was typing up a document relating to brand performance. … Something about her brought to mind a painting by Edward Hopper which I had seen several years before at the Museum of Modern Art in Manhattan. In New York Movie (1939), an usherette stands by the stairwell of an ornate pre-war theatre. Whereas the audience is sunk in semidarkness, she is bathed in a rich pool of yellow light. As often in Hopper’s work, her expression suggests that her thoughts have carried her elsewhere. She is beautiful and young, with carefully curled blond hair, and there are a touching fragility and an anxiety about her which elicit both care and desire. Despite her lowly job, she is the painting’s guardian of integrity and intelligence, the Cinderella of the cinema. Hopper seems to be delivering a subtle commentary on, and indictment of, the medium itself, implying that a technological invention associated with communal excitement has paradoxically succeeded in curtailing our concern for others. The painting’s power hangs on the juxtaposition of two ideas: first, that the woman is more interesting that the film, and second, that she is being ignored because of the film. In their haste to take their seats, the members of the audience have omitted to notice that they have in their midst a heroine more sympathetic and compelling than any character Hollywood could offer up. It is left to the painter, working in a quieter, more observant idiom, to rescue what the film has encouraged its viewers not to see.”

Alain de Botton (1969) Swiss writer

Source: The Pleasures and Sorrows of Work (2009), pp. 83-84.

Joseph Massad photo
Maimónides photo

“There are seven causes of inconsistencies and contradictions to be met with in a literary work. The first cause arises from the fact that the author collects the opinions of various men, each differing from the other, but neglects to mention the name of the author of any particular opinion. In such a work contradictions or inconsistencies must occur, since any two statements may belong to two different authors. Second cause: The author holds at first one opinion which he subsequently rejects: in his work, however, both his original and altered views are retained. Third cause: The passages in question are not all to be taken literally: some only are to be understood in their literal sense, while in others figurative language is employed, which includes another meaning besides the literal one: or, in the apparently inconsistent passages, figurative language is employed which, if taken literally, would seem to be contradictories or contraries. Fourth cause: The premises are not identical in both statements, but for certain reasons they are not fully stated in these passages: or two propositions with different subjects which are expressed by the same term without having the difference in meaning pointed out, occur in two passages. The contradiction is therefore only apparent, but there is no contradiction in reality. The fifth cause is traceable to the use of a certain method adopted in teaching and expounding profound problems. Namely, a difficult and obscure theorem must sometimes be mentioned and assumed as known, for the illustration of some elementary and intelligible subject which must be taught beforehand the commencement being always made with the easier thing. The teacher must therefore facilitate, in any manner which he can devise, the explanation of those theorems, which have to be assumed as known, and he must content himself with giving a general though somewhat inaccurate notion on the subject. It is, for the present, explained according to the capacity of the students, that they may comprehend it as far as they are required to understand the subject. Later on, the same subject is thoroughly treated and fully developed in its right place. Sixth cause: The contradiction is not apparent, and only becomes evident through a series of premises. The larger the number of premises necessary to prove the contradiction between the two conclusions, the greater is the chance that it will escape detection, and that the author will not perceive his own inconsistency. Only when from each conclusion, by means of suitable premises, an inference is made, and from the enunciation thus inferred, by means of proper arguments, other conclusions are formed, and after that process has been repeated many times, then it becomes clear that the original conclusions are contradictories or contraries. Even able writers are liable to overlook such inconsistencies. If, however, the contradiction between the original statements can at once be discovered, and the author, while writing the second, does not think of the first, he evinces a greater deficiency, and his words deserve no notice whatever. Seventh cause: It is sometimes necessary to introduce such metaphysical matter as may partly be disclosed, but must partly be concealed: while, therefore, on one occasion the object which the author has in view may demand that the metaphysical problem be treated as solved in one way, it may be convenient on another occasion to treat it as solved in the opposite way. The author must endeavour, by concealing the fact as much as possible, to prevent the uneducated reader from perceiving the contradiction.”

Guide for the Perplexed (c. 1190), Introduction

Eugene J. Martin photo
Marianne Moore photo

“One writes because one has a burning desire to objectify what it is indispensable to one's happiness to express.”

Marianne Moore (1887–1972) American poet and writer

Idiosyncrasy and Technique 1958

Joseph Massad photo