Quotes about form
page 28

Timothy McVeigh photo
Allen Ginsberg photo

“You assume we are all sexually stable; while on the other hand, as I have become acquainted with people, I find that they are all perverted sinners, one way or another, that the whole society is corrupt and rotten and repressed and unconscious that it exhibits its repression in various forms of social sadism.”

Allen Ginsberg (1926–1997) American poet

Family Business: Selected Letters Between a Father and Son, Allen and Louis Ginsberg (1944-1976), Michael Schumacher (ed.) (2001), Bloomsbury Publishing NY, ISBN 1582341079, p. 21.
Family Business

Sören Kierkegaard photo

“He fixed his definition thus: reflection is the possibility of the relation, consciousness is the relation, the first form of which is contradiction. He soon noted that, as a result, the categories of reflection are always dichotomous. For example ideality and reality, soul and body, to recognize – the true, to will – the good, to love – the beautiful, God and the world, and so on, these are categories of reflection. In reflection, these touch each other in such a way that a relation becomes possible. The categories of consciousness, on the other hand, are trichotomous, as language itself indicates, for when I say I am conscious of this, I mention a trinity. Consciousness is mind and spirit, and the remarkable thing is that when in the world of mind or spirit one is divided, it always becomes three and never two. Consciousness, therefore, presupposes reflection. If this were not true it would be impossible to explain doubt. True, language seems to contest this, since in most languages, as far as he knew, the word ‘doubt’ is etymologically related to the word ‘two’. Yet in his opinion this only indicated the presupposition of doubt, especially because it was clear to him that as soon as I, as spirit, become two, I am eo ipso three. If there were nothing but dichotomies, doubt would not exist, for the possibility of doubt lies precisely in that third which places the two in relation to each other. One cannot therefore say that reflection produces doubt, unless one expressed oneself backwards; one must say that doubt presupposes reflection, though not in a temporal sense. Doubt arises through a relation between two, but for this to take place the two must exist, although doubt, as a higher expression, comes before rather than afterwards.”

Sören Kierkegaard (1813–1855) Danish philosopher and theologian, founder of Existentialism

Johannes Climacus (1841) p. 80-81
1840s, Johannes Climacus (1841)

Helena Petrovna Blavatsky photo
Chris Hedges photo
George Bird Evans photo
Carl Sagan photo
Joan Crawford photo

“I have always known what I wanted, and that was beauty… in every form.”

Joan Crawford (1904–1977) American actress

Interview, Hollywood Reporter (1949)

“Sonata form could not be defined until it was dead. Czerny claimed with pride around 1840 that he was the first to describe it, but then it was already part of history.”

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

Part I. Introduction. 2. Theories of Form
Classical Style: Haydn, Mozart, Beethoven (Expanded edition, 1997)

H. Havelock Ellis photo

“Thinking in its lower grades is comparable to paper money, and in its higher forms it is a kind of poetry.”

H. Havelock Ellis (1859–1939) British physician, writer, and social reformer

Source: The Dance of Life http://www.gutenberg.net.au/ebooks03/0300671.txt (1923), Ch. 3

Frederick Douglass photo
Maurice Denis photo

“Don't lose sight of the essential objectives of painting, which are expression, emotion, delectation; to understand the means, to paint decoratively, to exalt form and color.”

Maurice Denis (1870–1943) French painter

Quote from Denis' Journal, 1930; as cited on Wikipedia: Maurice Denis https://en.wikipedia.org/wiki/Maurice_Denis - reference [43]
1921 and later

David Eugene Smith photo

“It is difficult to say when algebra as a science began in China. Problems which we should solve by equations appear in works as early as the Nine Sections (K'iu-ch'ang Suan-shu) and so may have been known by the year 1000 B. C. In Liu Hui's commentary on this work (c. 250) there are problems of pursuit, the Rule of False Position… and an arrangement of terms in a kind of determinant notation. The rules given by Liu Hui form a kind of rhetorical algebra.
The work of Sun-tzï contains various problems which would today be considered algebraic. These include questions involving indeterminate equations. …Sun-tzï solved such problems by analysis and was content with a single result…
The Chinese certainly knew how to solve quadratics as early as the 1st century B. C., and rules given even as early as the K'iu-ch'ang Suan-shu… involve the solution of such equations.
Liu Hui (c. 250) gave various rules which would now be stated as algebraic formulas and seems to have deduced these from other rules in much the same way as we should…
By the 7th century the cubic equation had begun to attract attention, as is evident from the Ch'i-ku Suan-king of Wang Hs'iao-t'ung (c. 625).
The culmination of Chinese is found in the 13th century. …numerical higher equations attracted the special attention of scholars like Ch'in Kiu-shao (c.1250), Li Yeh (c. 1250), and Chu-Shï-kié (c. 1300), the result being the perfecting of an ancient method which resembles the one later developed by W. G. Horner”

David Eugene Smith (1860–1944) American mathematician

1819
Source: History of Mathematics (1925) Vol.2, Ch. 6: Algebra

Herman Kahn photo
Theodor Mommsen photo

“Mankind have infinite difficulty in reaching new creations, and therefore cherish the once developed forms as sacred heirlooms.”

Theodor Mommsen (1817–1903) German classical scholar, historian, jurist, journalist, politician, archaeologist and writer

Vol. 4. Part 2. Translated by W.P. Dickson
The History of Rome - Volume 4: Part 2

Matthew Arnold photo

“The best poetry will be found to have a power of forming, sustaining, and delighting us, as nothing else can.”

Matthew Arnold (1822–1888) English poet and cultural critic who worked as an inspector of schools

The Study of Poetry
Essays in Criticism, second series (1888)

“We trained hard, but it seemed that every time we were beginning to form up into teams we would be reorganized. Presumably the plans for our employment were being changed. I was to learn later in life that, perhaps because we are so good at organizing, we tend as a nation to meet any new situation by reorganizing; and a wonderful method it can be for creating the illusion of progress while producing confusion, inefficiency and demoralization.”

Charlton Ogburn (1911–1998) American journalist and author

From "Merrill's Marauders: The truth about an incredible adventure" http://www.harpers.org/archive/1957/01/0007289 in the January 1957 issue of Harper's Magazine
Usually misattributed to Petronius
See Brown, David S. "Petronius or Ogburn?", <i>Public Administration Review</i>, Vol. 38, No. 3 (May - Jun., 1978), p. 296 http://links.jstor.org/sici?sici=0033-3352(197805%2F06)38%3A3%3C296%3APOO%3E2.0.CO%3B2-Z
<p>alternate version:</p><p>As a result, I suppose, of high-level changes of mind about how we were to be used, we went though several reorganizations. Perhaps because Americans as a nation have a gift for organizing, we tend to meet any new situation by reorganization, and a wonderful method it is for creating the illusion of progress at the mere cost of confusion, inefficiency and demoralization.</p>
The Maurauders (1959)
chapter 2, page 60

W. H. Auden photo
Tom Stoppard photo
Lawrence Lessig photo
Alija Izetbegović photo
Marcel Duchamp photo
Marcel Duchamp photo
John Stuart Mill photo
George Moore (novelist) photo
Ernesto Che Guevara photo
Lawrence Lessig photo
Anil Kumble photo
C. Rajagopalachari photo
Gregory Scott Paul photo
Gustave Geffroy photo

“From now on whatever the hour represented on the canvas, a supreme accord will be wrought amongst all the parts of the subject: the water, the sky, the clouds, the foliage, reunified by the atmosphere, will form a whole of an irreproachable homogeneity, a grandiose and charming image of natural harmony.”

Gustave Geffroy (1855–1926) French writer

1898 in: Steven Z. Levine, ‎Claude Monet (1994), Monet, Narcissus, and Self-Reflection: The Modernist Myth of the Self. p. 93: presented as "account at the time of the reexhibition of the seven Cathedrals in 1898."

John Ralston Saul photo
Bhakti Tirtha Swami photo

“The search continues for the absolute model-form which shall do justice to every dimension without loss of inner force.”

Fritz Wotruba (1907–1975) Austrian sculptor (23 April 1907, Vienna – 28 August 1975, Vienna)

Source: The Human Form: Sculpture, Prints, and Drawings, 1977, p. 8.

Christopher Langton photo
Prince photo

“Happiness in it's uncut form
Is the feeling that I get, you're warm, warm
Happy's what I get when we do what we do
Happiness, mama, is being with u
Good lord.”

Prince (1958–2016) American pop, songwriter, musician and actor

Girls & Boys
Song lyrics, Parade Under the Cherry Moon (1986)

Sri Chinmoy photo

“No mind, no form, I only exist; now ceased all will and thought; the final end of [Nature]]'s dance, I am it whom I have sought.”

Sri Chinmoy (1931–2007) Indian writer and guru

"The Absolute", p. 1
My Flute (1972)

G. Edward Griffin photo
William Ellery Channing photo
John Gray photo
Kent Hovind photo
Raymond Loewy photo

“Is it responsible to camouflage one of America's most remarkable machines as a piece of gaudy merchandise? Form, which should be the clean- cut expression of mechanical excellence has become sensuous and organic.”

Raymond Loewy (1893–1986) industrial designer

Raymond Loewy 1950s, cited in: Karal Ann Marling, ‎Donald J. Bush, ‎Walker Art Center (1989) Autoeroticism. p. 16
Loewy commented on the new generation automobiles, after having designed the Studebaker of 1953, which according to Loewy looked like "jukeboxes on wheels."

Jean-Baptiste-Camille Corot photo

“I am never in a hurry to reach details. First and above all I am interested in the large masses and the general character of a picture; when these are well established, then I try for subtleties of form and color. I rework the painting constantly and freely, and without any systematic method.”

Jean-Baptiste-Camille Corot (1796–1875) French landscape painter and printmaker in etching

Quote from Corot's 'Notebooks', ca. 1850, as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 240-241
1850s

Philip K. Dick photo
Harold Innis photo
Maajid Nawaz photo
Vannevar Bush photo
Max Horkheimer photo
Ignatius Sancho photo
Käthe Kollwitz photo
Johann Wolfgang von Goethe photo
Alexander Hamilton photo
Steven M. Greer photo

“We're not alone. There are life forms out there, which while they are not hostile, have clearly shown that they're not pleased with our tendency to put weapons in space. (May 9, 2001)”

Steven M. Greer (1955) American ufologist

2001
Source: [Watson, Rob, UFO spotters slam 'US cover-up', BBC News, May 10, 2001, http://news.bbc.co.uk/1/hi/world/americas/1322432.stm, 2007-02-21]

Patrick Swift photo
Bhakti Tirtha Swami photo

“No one is a solitary agent. We all have various types of guides who assist us. Most important, there is a form of God in everyone’s heart, and when you put the physical body to rest, you make closer contact with the Lord in the heart and with your higher self.”

Bhakti Tirtha Swami (1950–2005) American Hindu writer

Source: Books, Spiritual Warrior, Volume I: Uncovering Spiritual Truths in Psychic Phenomena (Hari-Nama Press, 1996), Chapter 1: Dreams: A State of Reality, p. 24

Asger Jorn photo

“True realism, materialist realism lies in the search for the expression of forms faithful to their content. But there is no content detached from human interest.”

Asger Jorn (1914–1973) Danish artist

As quoted in Aftermath France, 1945-54: New Images of Man: An Exhibition (1982), p. 107
1959 - 1973, Various sources

Luigi Russolo photo
William Blake photo

“God appears and god is light
To those poor souls who dwell in night
But does a human form display
To those who dwell in realms of day”

William Blake (1757–1827) English Romantic poet and artist

Source: 1800s, Auguries of Innocence (1803), Line 129

Gerhard Richter photo
Paula Modersohn-Becker photo
Joseph Beuys photo
Theo van Doesburg photo
Gary L. Francione photo

“The excursus upon the origin of Odysseus’ scar is not basically different from the many passages in which a newly introduced character, or even a newly appearing object or implement, though it be in the thick of a battle, is described as to its nature and origin; or in which, upon the appearance of a god, we are told where he last was, what he was doing there, and by what road he reached the scene; indeed, even the Homeric epithets seem to me in the final analysis to be traceable to the same need for an externalization of phenomena in terms perceptible to the senses. Here is the scar, which comes up in the course of the narrative; and Homer’s feeling simply will not permit him to see it appear out of the darkness of an unilluminated past; it must be set in full light, and with it a portion of the hero’s boyhood. … To be sure, the aesthetic effect thus produced was soon noticed and thereafter consciously sought; but the more original cause must have lain in the basic impulse of the Homeric style: to represent phenomena in a fully externalized form, visible and palpable in all their parts, and completely fixed in their spatial and temporal relations. Nor do psychological processes receive any other treatment: here too nothing must remain hidden and unexpressed. With the utmost fullness, with an orderliness which even passion does not disturb, Homer’s personages vent their inmost hearts in speech; what they do not say to others, they speak in their own minds, so that the reader is informed of it. Much that is terrible takes place in the Homeric poems, but it seldom takes place wordlessly: Polyphemus talks to Odysseus; Odysseus talks to the suitors when he begins to kill them; Hector and Achilles talk at length, before battle and after; and no speech is so filled with anger or scorn that the particles which express logical and grammatical connections are lacking or out of place.”

Source: Mimesis: The Representation of Reality in Western Literature (1946), p. 5

“I was attracted to studies of cancer families because epidemiological studies show that virtually all cancers manifest a tendency to aggregate in families. Close relatives of a cancer patient are at increased risk of that neoplasm, and perhaps other forms of cancer. The excess site-specific cancer risk is exceptionally high for carriers of certain cancer genes, in whom the attack rate can approach 100 percent. In candidate cancer families, the possibility that clustering is on the basis of chance must be excluded through epidemiological studies that establish the presence of an excess cancer risk. Predisposed families are candidates for laboratory studies to identify the inherited susceptibility factors. These investigations have led to the identification and isolation of human cancer genes, the tumor suppressor genes. These cancer genes are among more than 200 single-gene traits associated with the development of cancer. Approximately a dozen inherited susceptibility genes have been definitively identified, and many more are being sought. From studies of retinoblastoma and other rare cancers, important new information was generated about the fundamental biology of cancers that arise in many patients. Isolation of an inherited cancer susceptibility gene provides opportunities for presymptomatic testing of at-risk relatives. However, testing of healthy individuals also raise important issues regarding informed consent, confidentiality and potential for adverse psychological, social and economic effects.”

Frederick Pei Li (1940–2015) American physician

Frederick Li - Harvard T.H. Chan School of Public Health http://www.hsph.harvard.edu/frederick-li/.

Meher Baba photo
Steven Wright photo
Marshall McLuhan photo
Davey Havok photo
Harry V. Jaffa photo
Edvard Munch photo

“By painting colours and lines and forms seen in a quickened mood I was seeking to make this mood vibrate as a phonograph does.”

Edvard Munch (1863–1944) Norwegian painter and printmaker

1896 - 1930
Source: Diary Saint Cloud, 1898; Munch, as quoted in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, p. 105

Patrick Swift photo
Théodore Rousseau photo

“If my painting depicts faithfully and without over-refinement the simple and true character of the place you have frequented, if I succeed.... in giving its own life to that world of vegetation, then you will hear the trees moaning under the winter wind, the birds that call their young and cry after their dispersion; you will feel the old chateau tremble; it will tell you that, as the wife you loved, it too will.... disappear and be reborn in multiple forms.. One does not copy with mathematical precision what one sees, but one feels and interprets a real world, all of whose fatalities hold you fast bound.”

Théodore Rousseau (1812–1867) French painter (1812-1867)

Quote in a letter to M. Guizot, c. 1839-41; as cited by Charles Sprague Smith, in Barbizon days, Millet-Corot-Rousseau-Barye publisher, A. Wessels Company, New York, July 1902, pp. 172-173
The Duke de Broglie had ordered of Rousseau a painting of the 'Chateau de Broglie', for his friend M. Guizot. Madame Guizot had died there, and The Duke de Broglie urged Rousseau to make the painting grave and sad.. The quote presents Rousseau’s responding
1830 - 1850

Henry Adams photo
Michel Foucault photo
Rick Warren photo

“Worry is really just a form of atheism. Every time you worry, you’re acting like an atheist. You’re saying, “It all depends on me.””

Rick Warren (1954) Christian religious leader

That’s just not in the Bible.
"Word of the Day: God’s Provision: Trust God" in Electronic Urban Report (3 August 2010) http://www.eurweb.com/?p=40621

Charles Bernstein photo
Edgar Rice Burroughs photo
Ayumi Hamasaki photo

“If one day
They are connected
And form lines”

Ayumi Hamasaki (1978) Japanese recording artist, lyricist, model, and actress

Forgiveness
Lyrics, Memorial Address

Andrew Ure photo
Max Scheler photo