Quotes about expression
page 32

Daniel Dennett photo

“A neurosurgeon once told me about operating on the brain of a young man with epilepsy. As is customary in this kind of operation, the patient was wide awake, under only local anesthesia, while the surgeon delicately explored his exposed cortex, making sure that the parts tentatively to be removed were not absolutely vital by stimulating them electrically and asking the patient what he experienced. Some stimulations provoked visual flashes or hand-raisings, others a sort of buzzing sensation, but one spot produced a delighted response from the patient: "It's 'Outta Get Me' by Guns N'Roses, my favorite heavy metal [sic] band!"I asked the neurosurgeon if he had asked the patient to sing or hum along with the music, since it would be fascinating to learn how "high fidelity" the provoked memory was. Would it be in exactly the same key and tempo as the record? Such a song (unlike "Silent Night") has one canonical version, so we could simply have superimposed a recording of the patient's humming with the standard record and compare the results. Unfortunately, even though a tape recorder had been running during the operation, the surgeon hadn't asked the patient to sing along. "Why not?" I asked, and he replied: "I hate rock music!"Later in the conversation the neurosurgeon happened to remark that he was going to have to operate again on the same young man, and I expressed the hope that he would just check to see if he could restimulate the rock music, and this time ask the fellow to sing along. "I can't do that," replied the neurosurgeon, "since I cut out that part." "It was part of the epileptic focus?"”

I asked, and he replied, "No, I already told you — I hate rock music."</p>
Source: Consciousness Explained (1991), p. 58-59

James Clerk Maxwell photo

“Mathematicians may flatter themselves that they possess new ideas which mere human language is yet unable to express. Let them make the effort to express these ideas in appropriate words without the aid of symbols, and if they succeed they will not only lay us laymen under a lasting obligation, but we venture to say, they will find themselves very much enlightened during the process, and will even be doubtful whether the ideas as expressed in symbols had ever quite found their way out of the equations of their minds.”

James Clerk Maxwell (1831–1879) Scottish physicist

"Thomson & Tait's Natural Philosophy" in Nature, Vol. 7 (Mar. 27, 1873) A review of Elements of Natural Philosophy https://archive.org/details/elementsnatural00kelvgoog (1873) by Sir W. Thomson, P. G. Tait. See Nature, Vol. 7-8, https://archive.org/details/nature7818721873lock Nov. 1872-Oct. 1873, pp. 399-400, or The Scientific Papers of James Clerk Maxwell, p. 328. https://books.google.com/books?id=lzlRAAAAYAAJ&pg=PA328

Edward Snowden photo

“The government and intelligence services of the United States of America have attempted to make an example of me, a warning to all others who might speak out as I have. I have been made stateless and hounded for my act of political expression.”

Edward Snowden (1983) American whistleblower and former National Security Agency contractor

Edward Snowden accuses US of illegal, aggressive campaign in his first appearance in the airport http://www.guardian.co.uk/world/2013/jul/12/edward-snowden-accuses-us-illegal-campaign, published by The Guardian 12 July 2013.
Interview with Glenn Greenwald, 6 June 2013, Part 2

Richard Henry Dana Jr. photo
Louis Pasteur photo
William O. Douglas photo
George Henry Lewes photo
John Lydgate photo
Auguste Rodin photo
Ralph Ellison photo
Jordan Anderson photo
Christopher Hitchens photo
Warren Farrell photo

“When either sex suppresses the expression of feelings, it’s almost always b/c they don’t feel there is a safe environment to express them.”

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

Source: Women Can't Hear What Men Don't Say (2000), p. 16.

Gregor Mendel photo
Alexej von Jawlensky photo

“His pictures [of Nolde, which Jawlensky met in 1912] remind me of my own in the strength of their expression. I have a passionate love for Nolde and his art.”

Alexej von Jawlensky (1864–1941) Russian painter

quote of Jawlensky, 1912; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 118
1900 - 1935

Piet Mondrian photo

“The creative artist has an essential role in modern society. By expressing his individual ideas and emotions he adds to the sum of human awareness.”

Lloyd Goodrich (1897–1987) American art historian

'The Artist in American Society' - Colorado Magazine Vol. 15 No 2 Autumn 1966

Miguel de Unamuno photo
Michelangelo Buonarroti photo
Joseph Beuys photo
Sören Kierkegaard photo
Ai Weiwei photo

“If there is no freedom of expression, then the beauty of life is lost. Participation in a society is not an artistic choice, it’s a human need.”

Ai Weiwei (1957) Chinese concept artist

Solway, Diane. “Enforced Disappearance.” W Magazine, November 2011.
2010-, 2011

Amir Taheri photo

“Khamenei is not the first ruler of Iran with whom poets have run into trouble. For some 12 centuries poetry has been the Iranian people’s principal medium of expression. Iran may be the only country where not a single home is found without at least one book of poems. Initially, Persian poets had a hard time to define their place in society. The newly converted Islamic rulers suspected the poets of trying to revive the Zoroastrian faith to undermine the new religion. Clerics saw poets as people who wished to keep the Persian language alive and thus sabotage the ascent of Arabic as the new lingua franca. Without the early Persian poets, Iranians might have ended up like so many other nations in the Middle East who lost their native languages and became Arabic speakers. Early on, Persian poets developed a strategy to check the ardor of the rulers and the mullahs. They started every qasida with praise to God and Prophet followed by panegyric for the ruler of the day. Once those “obligations” were out of the way they would move on to the real themes of the poems they wished to compose. Everyone knew that there was some trick involved but everyone accepted the result because it was good. Despite that modus vivendi some poets did end up in prison or in exile while many others spent their lives in hardship if not poverty. However, poets were never put to the sword. The Khomeinist regime is the first in Iran’s history to have executed so many poets. Implicitly or explicitly, some rulers made it clear what the poet couldn’t write. But none ever dreamt of telling the poet what he should write. Khamenei is the first to try to dictate to poets, accusing them of “crime” and” betrayal” if they ignored his injunctions.”

Amir Taheri (1942) Iranian journalist

When the Ayatollah Dictates Poetry http://www.aawsat.net/2015/07/article55344336/when-the-ayatollah-dictates-poetry, Ashraq Al-Awsat (Jul 11, 2015).

George William Curtis photo
Anton Mauve photo

“How are you doing, make a good, simple [and] true thing, for example… I believe I have found a good place for it. Namely, I spoke Mr. about you and he expressed his wish that you should show him something good..”

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

(translation from original Dutch, Fons Heijnsbroek, 2018, version in original Dutch / origineel citaat van Anton Mauve, in het Nederlands:) Hoe gaat het met je werk, maak vooral een goed eenvoudig [en] waar dingetje.. ..ik geloof er een goed plaatsje voor te hebben. namelijk ik sprak den Heer over jou en hij drukte de wensch uit dat je hem iets goeds moet laten zien..
Quote of Mauve in his letter to painter , 1866; as cited in Archive P.A. Scheen, collectie RKD Den Haag http://delamar.bntours.nl/!mad1832-bronnen.html
Like
1860's

Peter F. Drucker photo
Vincent Gallo photo
Max Weber photo
Marino Marini photo
Linus Torvalds photo

“There aren't enough swear-words in the English language, so now I'll have to call you perkeleen vittupää just to express my disgust and frustration with this crap.”

Linus Torvalds (1969) Finnish-American software engineer and hacker

<nowiki>Re: [GIT pull https://www.mail-archive.com/linux-kernel@vger.kernel.org/msg467322.html, x86 updates for 3.11</nowiki>, Torvalds, Linus, 2013-07-13, 2013-07-15]
2010s, 2013

Alexandra Kollontai photo

“I wanted to be free. I wanted to express desires on my own, to shape my own little life.”

Alexandra Kollontai (1872–1952) Soviet diplomat

The Autobiography of a Sexually Emancipated Communist Woman (1926)

Joe Zawinul photo
Marsden Hartley photo

“They are the gateway for our modern esthetic development, the prophets of the new time. They are most of all, the primitives of the way they have begun; they have voiced most of all the imperative need of essential personalism, of direct expression of direct experience.”

Marsden Hartley (1877–1943) American artist

Quote from Whitman and Cézanne, in Adventures in the Arts, New York, Boni Liveright 1921; as cited in Marsden Hartley, by Gail R. Scott, Abbeville Publishers, Cross River Press, 1988, New York p. 34
1921 - 1930

Michel Seuphor photo
Vladimir Lenin photo
W. Somerset Maugham photo
Starhawk photo
Varadaraja V. Raman photo

“When the poet said that for him poetry was not a purpose, but a passion, he was also expressing the feelings of the true scientist to his own field.”

Varadaraja V. Raman (1932) American physicist

THOUGHTS ON SCIENCE AND LITERATURE’’
Truth and Tension in Science and Religion

Nathaniel Hawthorne photo

“If the Hindus sang Vande Mãtaram in a public meeting, it was a ‘conspiracy’ to convert Muslims into kãfirs. If the Hindus blew a conch, or broke a coconut, or garlanded the portrait of a revered patriot, it was an attempt to ‘force’ Muslims into ‘idolatry’. If the Hindus spoke in any of their native languages, it was an ‘affront’ to the culture of Islam. If the Hindus took pride in their pre-Islamic heroes, it was a ‘devaluation’ of Islamic history. And so on, there were many more objections, major and minor, to every national self-expression. In short, it was a demand that Hindus should cease to be Hindus and become instead a faceless conglomeration of rootless individuals. On the other hand, the ‘minority community’ was not prepared to make the slightest concession in what they regarded as their religious and cultural rights. If the Hindus requested that cow-killing should stop, it was a demand for renouncing an ‘established Islamic practice’. If the Hindus objected to an open sale of beef in the bazars, it was an ‘encroachment’ on the ‘civil rights’ of the Muslims. If the Hindus demanded that cows meant for ritual slaughter should not be decorated and marched through Hindu localities, it was ‘trampling upon time-honoured Islamic traditions’. If the Hindus appealed that Hindu religious processions passing through a public thoroughfare should not be obstructed, it was an attempt to ‘disturb the peace of Muslim prayers’. If the Hindus wanted their native languages to attain an equal status with Urdu in the courts and the administration, it was an ‘assault on Muslim culture’. If the Hindus taught to their children the true history of Muslim tyrants, it was a ‘hate campaign against Islamic heroes’. And the ‘minority community’ was always ready to ‘defend’ its ‘religion and culture’ by taking recourse to street riots.”

Sita Ram Goel (1921–2003) Indian activist

Muslim Separatism – Causes and Consequences (1987)

Théodore Rousseau photo
Peter Sloterdijk photo
Jacoba van Heemskerck photo

“All men forget that colors have to radiate to give the big [spiritual] expression.”

Jacoba van Heemskerck (1876–1923) Dutch painter

(translation from German, Fons Heijnsbroek, 2018, Dutch version, Nederlandse versie van citaat uit haar brief:) Alle mannen vergeten dat kleuren stralen moeten om de grote uitwerking te geven..
In her letter of 7 Jan. 1916; as cited in Jacoba van Heemskerck van Beest, 1876 – 1923: schilderes uit roeping, A. H. Huussen jr. (ed. Marleen Blokhuis), (ISBN: 90-400-9064-5); Waanders, Zwolle, 2005, p. 193
her critic on artists like a. o. Piet Mondrian and Theo Van Doesburg
1910's

Asger Jorn photo

“The act of expressing oneself is a physical one. It materializes the thought.”

Asger Jorn (1914–1973) Danish artist

1949 - 1958, Speech to the Penguins' (1949)

Dave Barry photo

“A sense of humor is a measurement of the extent to which we realize that we are trapped in a world almost totally devoid of reason. Laughter is how we express the anxiety we feel at this knowledge.”

Dave Barry (1947) American writer

Originally published in "Encyclopedia Tropicana: A Reference Book for the Modern World, Volume 1" by Joel Achenbach, The Miami Herald, May 4, 1986; quoted by Bryan Curtis, " Dave Barry: Elegy for the humorist http://slate.msn.com/id/2112218," Slate, January 12, 2005
Columns and articles

Bill Hybels photo
Sören Kierkegaard photo
Umberto Boccioni photo
Robert E. Howard photo
William O. Douglas photo

“Our recent decisions make plain that we do not sit as a super-legislature to weigh the wisdom of legislation nor to decide whether the policy which it expresses offends the public welfare.”

William O. Douglas (1898–1980) Associate Justice of the Supreme Court of the United States

Writing for the court, Day-Brite Lighting, Inc. v. Missouri, 342 U.S. 421 (1952)
Judicial opinions

William John Macquorn Rankine photo
Warren Farrell photo

“Both sexes had an unconscious investment in keeping men from expressing feelings of fear and vulnerability.”

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

Women Can't Hear What Men Don't Say (2000)

Tawakkol Karman photo
Jacques Ellul photo
Mahatma Gandhi photo
Ernesto Grassi photo

“If philosophy aims at being a theoretical mode of thought and speech, can it have a rhetorical character and be expressed in rhetorical forms? The answer seems obvious. Theoretical thinking, as a rational process, excludes every rhetorical element because pathetic influences—the influences of feeling—disturb the clarity of rational thought. …
To prove means to show something to be something, on the basis of something. To have something through which something is shown and explained definitively is the foundation of our knowledge. Apodictic, demonstrative speech is the kind of speech which establishes the definition of a phenomenon by tracing it back to ultimate principles, or archai. It is clear that the first archai of any proof and hence of knowledge cannot be proved themselves because they cannot be the object of apodictic, demonstrative, logical speech; otherwise they would not be the first assertions. Their nonderivable, primary character is evident from the fact that we neither can speak nor comport ourselves without them, for both speech and human activity simply presuppose them. But if the original assertions are not demonstrable, what is the character of the speech in which we express them? Obviously this type of speech cannot have a rational-theoretical character….
Basic premises cannot have an apodictic, demonstrative character and structure but are thoroughly indicative….
Arche … cannot have a rational but only a rhetorical character. Thus the term "rhetoric" assumes a fundamentally new significance; "rhetoric" is not, nor can it be the art, the technique of an exterior persuasion; it is rather the speech which is the basis of the rational thought.”

Ernesto Grassi (1902–1991) Italian philosopher

Source: Rhetoric as Philosophy (1980), pp. 18-19

André Maurois photo
Leonard Cohen photo

“And if one is to express the great inevitable defeat that awaits us all, it must be done within the strict confines of dignity and beauty.”

Leonard Cohen (1934–2016) Canadian poet and singer-songwriter

As quoted in "2011's Prince of Asturias Prize for Letters" http://www.fpa.es/en/awards/2011/leonard-cohen-1/speech/

John Ruskin photo
Otto Weininger photo
J. R. D. Tata photo
Heinrich Heine photo

“Money bequeathed to my wife "on the express condition that she remarry. I want at least one person to be truly bereaved by my death."”

Heinrich Heine (1797–1856) German poet, journalist, essayist, and literary critic

Testamentary Will of Heinrich Heine (1856); no published source for this has been located.
Disputed

Dmitri Shostakovich photo
Clive Barker photo
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

Roger Scruton photo
Francisco De Goya photo

“I tell you that I have nothing more to wish for. They were extremely pleased with my pictures, and expressed great satisfaction not only the King, but the Prince as well. Neither I nor my works deserve such recognition.”

Francisco De Goya (1746–1828) Spanish painter and printmaker (1746–1828)

letter to his friend Don Martín Zapater, early Jan. 1779 https://www.wikidata.org/wiki/Q3915977 and https://nl.wikipedia.org/wiki/Bestand:Francisco_de_Goya_-_Portrait_of_Mart%C3%ADn_Zapater_-_Google_Art_Project.jpg; as quoted in Francisco Goya, Hugh Stokes, Herbert Jenkins Limited Publishers, London, 1914, p. 110
Early in January, 1779, Goya was presented to the Spanish King and the heir apparent, and kissed hands. They appreciated his pictures (cartoons), Goya made as designs for the royal tapestry factory, to cover the huge walls of the king's palace https://commons.wikimedia.org/wiki/Palacio_Real_de_Madrid
1770s

Ilana Mercer photo
Paul Davies photo
Leoš Janáček photo
Alasdair MacIntyre photo
Jane Roberts photo
Karel Appel photo

“I'm not a pessimist. Maybe I don't have a primitive feeling of happiness, that is true. Sometimes my color is happy but not the expression.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Source: Karel Appel – the complete sculptures,' (1990), p. 85 'Quotes', K. Appel (1989)

George Ballard Mathews photo
William Bateson photo

“I know how to tell a story, but there’s a deeper thing I’m trying to get to now that can’t be expressed with a caption.”

Doug Menuez (1957) American photographer

Chronogram (May 2006) http://archive.chronogram.com/issue/2006/05/arts/

Natan Sharansky photo
Philip Schaff photo

“The German Rendering. The German language was divided into as many dialects as tribes and states, and none served as a bond of literary union. Saxons and Bavarians, Hanoverians and Swabians, could scarcely understand each other. Each author wrote in the dialect of his district, Zwingli in his Schwyzerdütsch. "I have so far read no book or letter," says Luther in the preface to his version of the Pentateuch (1523), in which the German language is properly handled. Nobody seems to care sufficiently for it; and every preacher thinks he has a right to change it at pleasure, and to invent new terms." Scholars preferred to write in Latin, and when they attempted to use the mother tongue, as Reuchlin and Melanchthon did occasionally, they fell far below in ease and beauty of expression.
Luther brought harmony out of this confusion, and made the modern High German the common book language. He chose as the basis the Saxon dialect, which was used at the Saxon court and in diplomatic intercourse between the emperor and the estates, but was bureaucratic, stiff, heavy, involved, dragging, and unwieldy. He popularized and adapted it to theology and religion. He enriched it with the vocabulary of the German mystics, chroniclers, and poets. He gave it wings, and made it intelligible to the common people of all parts of Germany.”

Philip Schaff (1819–1893) American Calvinist theologian

Which Greek and Hebrew texts of the Bible did Luther use?

“[Frank] Stella is not interested in expression or sensitivity. He is interested in the necessity of painting... His stripes are the paths of brush on canvas. These path leads only into painting.”

Carl Andre (1935) American artist

quote c. 1959, in 'Preface to Stripe Painting', by Carl Andre, in Sixteen Americans ed. Miller, p. 76
Andre's remark is referring to Andre's close artist-friend Frank Stella, the American minimalist painter

Anthony Giddens photo

“It is usually assumed that, in speaking, in the 1844 Manuscripts, of man’s “being reduced to the level of the animals,” and of man’s alienation from his “species-being” under the conditions of capitalist production, Marx is thinking in terms of an abstract conception of “man” as being alienated from his biological characteristics as a species. So, it is presumed, at this initial stage in the evolution of his thought, Marx believed that man is essentially a creative being whose “natural” propensities are denied by the restrictive character of capitalism. Actually, Marx holds, on the contrary, that the enormous productive power of capitalism generates possibilities for the future development of man which could not have been possible under prior forms of productive system. The organization of social relationships within which capitalist production is carried on in fact leads to the failure to realize these historically generated possibilities. The character of alienated labor does not express a tension between “man in nature” (non-alienated) and “man in society” (alienated), but between the potential generated by a specific form of society—capitalism—and the frustrated realization of that potential. What separates man from the animals is not the mere existence of biological differences between mankind and other species, but the cultural achievements of men, which are the outcome of a very long process of social development.”

Anthony Giddens (1938) British sociologist

Source: Capitalism and Modern Social Theory (1971), pp. 15-16.

Malcolm Muggeridge photo
Maurice de Vlaminck photo

“I wanted to burn down the 'École de Beaux Arts' with my cobalts and vermilions and I wanted to express my feelings with my brushes without troubling what painting was like before me... Life and me, me and life.”

Maurice de Vlaminck (1876–1958) French painter

Quote of De Vlaminck; as cited in Picasso, Matisse and Modernism in Paris 1900-1910, Sue Roe; Penguin Press, 2015; quoted in 'Becoming an Artist' on Widewalls https://www.widewalls.ch/artist/maurice-de-vlaminck/
Quotes undated