Quotes about graphic

A collection of quotes on the topic of graphic, use, work, working.

Quotes about graphic

“First we thought the PC was a calculator. Then we found out how to turn numbers into letters with ASCII — and we thought it was a typewriter. Then we discovered graphics, and we thought it was a television. With the World Wide Web, we’ve realized it’s a brochure.”

Douglas Adams (1952–2001) English writer and humorist

World

“Graphic representation constitutes one of the basic sign-systems conceived by the human mind for the purposes of storing, understanding, and communicating essential information. As a "language" for the eye, graphics benefits from the ubiquitous properties of visual perception. As a monosemic system, it forms the rational part of the world of images.”

Jacques Bertin (1918–2010) French geographer and cartographer

Source: Semiology of graphics (1967/83), p. 2

World, Communication, Understanding, Parting

“At a very early stage I realised that it's a real problem to perform electronic music on stage because electronic instruments are not particularly convincing on a visual point of view: somebody behind his computer, it's not particularly visual. So I was inspired by the opera. And what was the opera in the 19th century? It was the idea for a musician to join and to work, to collaborate with a stage director, with carpenters, painters, people doing decors, graphic artists to have a visual prolongation, a visual correspondence to their work. That's what I tried to do with the tools of my generation: electronics and video and lights and all that.”

Jean-Michel Jarre (1948) French composer, performer and music producer

interviewed on the Danish Monitor radio programme 2005-11-30

People, Music, Idea, Problem

“What I now heard so graphically at first-hand, though it was really no more than a detailed confirmation of what my uncle had written, excited me afresh; for I felt sure that I was on the track of a very real, very secret, and very ancient religion whose discovery would make me an anthropologist of note. My attitude was still one of absolute materialism, as l wish it still were, and I discounted with almost inexplicable perversity the coincidence of the dream notes and odd cuttings collected by Professor Angell.”

H.P. Lovecraft (1890–1937) American author

Fiction, The Call of Cthulhu (1926)

Secret, Religion, Dreams, Angels

“Nothing records the effects of a sad life so graphically as the human body.”

Naguib Mahfouz book Palace of Desire

Source: Palace of Desire

Sadness, Life

“Simon’s love life was complicated, but there was a pang, just for a moment, for this woman talking graphic novels with him.
Ah, well. Tessa Gray, foxy nerd, was probably dating someone already.”

Cassandra Clare (1973) American author

Source: The Whitechapel Fiend

Love, Life

“You have a valid complaint, and I do recognize it… but you are reading into things a little bit. Just the same, I will do my best to make horrible things happen to a bunch of white people before something else so graphic hits a minority character.”

Robert Kirkman (1978) American comic book writer

People, Reading

“Like O'Rielly, we'll grab the most important word of each sentence… 'The' for example. Also, I'll say, 'I'm angry,' and the graphic will read, 'Colbert angry.”

Stephen Colbert (1964) American political satirist, writer, comedian, television host, and actor

Reading

“You can make your superhero a psychopath, you can draw gut-splattering violence, and you can call it a "graphic novel," but comic books are still incredibly stupid.”

Bill Watterson (1958) American comic artist

Books, Stupidity, Drawing

“That pompous phrase (graphic novel) was thought up by some idiot in the marketing department of DC. I prefer to call them Big Expensive Comics.”

Alan Moore (1953) English writer primarily known for his work in comic books

“Franklin is a good type of our American manhood. Although not the wealthiest or the most powerful, he is undoubtedly, in the versatility of his genius and achievements, the greatest of our self-made men. The simple yet graphic story in the Autobiography of his steady rise from humble boyhood in a tallow-chandler shop, by industry, economy, and perseverance in self-improvement, to eminence, is the most remarkable of all the remarkable histories of our self-made men. It is in itself a wonderful illustration of the results possible to be attained in a land of unequaled opportunity by following Franklin's maxims.”

Benjamin Franklin (1706–1790) American author, printer, political theorist, politician, postmaster, scientist, inventor, civic activist, …

Written by Frank Woodworth Pine in his introduction to the 1916 publication of The Autobiography of Benjamin Franklin https://www.gutenberg.org/files/20203/20203-h/20203-h.htm. Pine, F.W. (editor). Henry Holt and Company via Gutenberg Press. (1916). Introduction. The Autobiography (1818), The Autobiography (1916)

Men, History, Perseverance

“The spectator of a sculpture, modern or ancient, is not called to examine his own or the sculptor's knowledge of anatomy but to participations, so to say, a participation where the motions which have strangulated the carver, while working, must operate the same mysterious attraction and inexpressible miracle of forms and lines, its dramaticism, its graphic tragedy, or its smiling gaiety and happiness: its words carved out of forms and sown with lines into phrases of philosophy, religion.”

Ossip Zadkine (1890–1967) French sculptor

n.p.
1960 - 1968, Plastic Language, Ossip Zadkine

Religion, Smile, Knowledge, Happiness

“My early work in newspaper comics and comic books allowed me to entertain millions of readers weekly, but I always felt there was more to say. I pioneered the use of comics for instructional manuals for American soldiers, covering three major wars, and later used comics to educate grade school children. Both were heady responsibilities that I took very seriously. But I yearned to do still more with the medium. At an age when I could have "retired," I chose instead to create literary comics, than a decidedly oxymoronic term. Acceptance has not always been easy, but I have seen it arrive in my lifetime. It has been most gratifying to see the graphic novel and many of its exceptional creators gradually become an accepted part of the book world. I couldn't find a major publisher to take A Contract With God only a quarter century ago, and now graphic novels represent the book industry's fastest growing genre.”

Will Eisner (1917–2005) American cartoonist

XIX-XX, December 2004
A Contract With God (2004)

God, War, Children, Books

“Contemporary art -- the field we are usually working in because there's money -- is mostly concerned with systems or systematic concepts. In the context of their work, artists adapt models of individual art-specific or economic or political systems like in a laboratory, to reveal the true nature of these systems by deconstructing them. So would it be fair to say that by their chameleon-like adaptation they are attempting to generate a similar system? Well… the corporate change in the art market has aged somewhat in the meantime and looks almost as old as the 'New Economy'. Now even the last snotty brat has realized that all the hogwash about the creative industries, sponsoring, fund-raising, the whole load of bullshit about the beautiful new art enterprises, was not much more than the awful veneer on the stupid, crass fanfare of neo-liberal liberation teleology. What is the truth behind the shifting spheres of activity between computer graphics, web design and the rest of all those frequency-orientated nerd pursuits? A lonely business with other lonely people at their terminals. And in the meantime the other part of the corporate identity has incidentally wasted whole countries like Argentina or Iceland. That's the real truth of the matter.”

Johannes Grenzfurthner (1975) Austrian artist, writer, curator, and theatre and film director

Interview on Furtherfield http://www.furtherfield.org/interviews/interview-johannes-grenzfurthner-monochrom-part-1

Money, People, Truth, Age

“And now, at the end of the twentieth century, with the pressure of modern information and the advances of data processing, graphics is passing through a new and fundamental stage. The great difference between the graphic representation of yesterday, which was poorly dissociated from the figurative image, and the graphics of tomorrow, is the disappearance of the congential fixity of the image.
When one can superimpose, juxtapose, transpose, and permute graphic images in ways that lead to groupings and classings, the graphic image passes from the dead image, the 'illustration,' to the living image, the widely accessible research instrument it is now becoming. The graphic is no longer only the 'representation' of a final simplification, it is a point of departure for the discovery of these simplifications and the means for their justification. The graphic has become, by its manageability, an instrument for information processing.”

Jacques Bertin (1918–2010) French geographer and cartographer

Source: Semiology of graphics (1967/83), p. 4

Way, Departure, Dead

“There is also a considerable tendency to define the subject as a kind of meeting place of science and art. This is exemplified by Eckert. He pleads for artistic imagination and intuition in cartographic portrayal and claims that the inter-action of such talents with scientific geography produces the aesthetic map. There is no question about the importance of imagination and new ideas, but it is equally important that significant processes be objectively investigated, whether it be the visual consumption of a graphic technique or a process in geomorphology. It can perhaps best be approached by a comparison of the aims, techniques involved, and the results accomplished by each activity”

Arthur H. Robinson (1915–2004) American geographer

Source: The Look of Maps (1952), p. 17; as cited in: Kirk Patrick Goldsberry (2007) Real-time Traffic Maps. p. 23-24

Art, Imagination, Idea, Question

“I do so many convention appearances and have a lot of face-to-face interaction with the fans. They tell me that they prefer seeing a live human being in a costume. Humans like to watch other humans, period, whether it’s in makeup or not. They can appreciate the artwork that goes into computer graphics—it’s an art form unto itself, getting better all the time—but there’s something connectable when you actually have a live person. The true fanboys actually want to connect with another person, that’s what I’m told. Me personally, as an audience member, I can appreciate the artistry of both types. When it’s completely rendered by an artist with no live performers involved, sometimes it can look like you’re watching a video game. That takes you out of the film for just a second. What I love about the medium is when they can be combined.”

Doug Jones (actor)

Doug Jones, Unmasked https://www.interviewmagazine.com/culture/doug-jones-falling-skies (July 30, 2013)

Love, Art, Game, Appearance

“I have been saying this for some time, but customers are not interested in grand games with higher-quality graphics and sound and epic stories. Only people who do not know the videogame business would advocate the release of next-generation machines when people are not interested in cutting-edge technologies.”

Hiroshi Yamauchi (1927–2013) Japanese businessman

Prior to the announcement of the Nintendo Revolution "Top 10 Tuesday: Wildest Statements Made by Industry Veterans" ign.com http://www.ign.com/articles/2006/03/14/top-10-tuesday-wildest-statements-made-by-industry-veteransquote-

People, Game, Business, Time

“I love computer graphics, but every system I've seen to try to turn programming into pictures has lost that syntactic element. There's something about syntax that makes it very precise for reading. I love photography. A photograph will tell a story. But words tell a story even better. Words are more versatile. You can paint a verbal picture that's much richer than you can photograph.”

Ward Cunningham (1949) American computer programmer who developed the first wiki

A Conversation with Ward Cunningham (2003), To Plan or Not To Plan

Love, Reading, Painting

“I find it increasingly necessary to express my ideas first in engraving or lithography so that they may develop before I start to paint. Every year my form and expression become more sensitive, and my ideas frequently have to pass through three graphic stages before I can start on the canvas... I can hear you say no, that is impossible because the value of the colors demands quite different treatment from black and white, but it is the inner idea that I try to establish firmly through graphic preparation.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

In a letter to de:Gustav Schiefler, 1924, in Annemarie Dube-Heynig, Kirchner: His Graphic Art, Greenwich, Conn.: New York Graphic Society, 1961, p. 96 - note 46
1920's

Color, Idea, Painting

“The key books about object-oriented graphical modeling languages appeared between 1988 and 1992. Leading figures included Grady Booch [Booch, OOAD]; Peter Coad [Coad, OOA], [Coad, OOD]; Ivar Jacobson (Objectory) [Jacobson, OOSE]; Jim Odell [Odell]; Jim Rumbaugh (OMT) [Rumbaugh, insights], [Rumbaugh, OMT]; Sally Shlaer and Steve Mellor [Shlaer and Mellor, data], [Shlaer and Mellor, states]; and Rebecca Wirfs-Brock (Responsibility Driven Design) [Wirfs-Brock].”

Rebecca Wirfs-Brock (1953) American software engineer

Martin Fowler (2004) A Brief Guide to the Standard Object Modeling Language. p. 7

Books, Appearance

“I am not interested in illustrating my time. A man’s 'time' limits him; it does not truly liberate him. Our age – it is of science – of mechanism – of power and death. I see no point in adding to its mammoth arrogance the compliment of graphic homage.”

Clyfford Still (1904–1980) American artist

Clyfford Still in an interview with Ti Grace Sharpless, 1963; as quoted in Abstract Expressionism Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, p. 201
1960s

Death, Age, Science, Time

Michael Simms (software developer) (1973) Video game programmer

Quoted in "Linux Game Publishing - it's possible" http://mstation.org/linuxgamepublishing.php M station (2003)

Game, Personality

“Many schools are now introducing computers into the educational curriculum. Within 10 years it is predicted that computers will play a significant role in every classroom in North America. The question is, how will they be used? Many educators have been focusing on the use of computers for drill and programmed instruction—to provide individualized practice and instruction in the usual curriculum areas. There is another use for computers in education which some educators, myself included, find more exciting. These involve using the computer:
• to provide an environment in which learning can be intrinsically motivating and fun.
• to allow children to discover, explore and create knowledge.
• to help develop skills of thinking and problem solving.
• to make some of the most powerful ideas of the burgeoning computer culture accessible and tangible to children at an early age.
If you have ever watched a child playing good video games or if you play them yourself, then you know the powerful motivation that graphics displays can create. As I’ve watched children play these games, every bit of their attention focused on the screen, I’ve often thought how wonderful it would be to harness this motivation and channel it toward intellectual growth and learning…”

Michael Friendly (1945) American psychologist

Michael Friendly. Advanced Logo: A Language for Learning. Lawrence Erlbaum Associates, Inc. 1988. Preface

Children, Age, Education, School

“[I] launched a new offensive against the fortress of painting. First, white thinned out in linseed oil as a general base. Second, color the entire surface lightly by applying very large areas of different colors that swim into one other and that must remain free of any effect of chiaroscuro. Third, a drawing, independent of and substituting for the unformulated tonal values. Then, at the end, some bass notes to ward off flabbiness, not too dark, but colored bass notes. This is the style that connects drawing and the realm of color, a saving transfer of my fundamental graphic talent into the domain of painting”

Paul Klee (1879–1940) German Swiss painter

Quote (1911), Diary # 875; as cited by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.htmlparagraph 1911 - 1914

Color, Drawing, Painting

“The Culture-Philistine … everywhere meets with educated people of his own sort, and since schools, universities and academies are adapted to his requirements and fashioned on the model corresponding to his cultivation. Since he finds almost everywhere the same tacit conventions with respect to religion, morality and literature, with respect to marriage, the family, the community and the state, he considers it demonstrated that this imposing homogeneity is culture. It never enters his head that this systematic and well-organised philistinism, which is set up in all high places and installed at every editorial desk, is not by any means made culture just because its organs are in concert. It is not even bad culture, says Nietzsche; it is barbarism fortified to the best of its ability, but entirely lacking the freshness and savage force of original barbarism; and he has many graphic expressions to describe Culture-Philistinism as the morass in which all weariness is stuck fast, and in the poisonous mists of which all endeavour languishes.”

Georg Brandes (1842–1927) Danish literature critic and scholar

Source: An Essay on Aristocratic Radicalism (1889), p. 8

Marriage, People, Education, School

“Graphic novelist: Don’t you feel foolish accepting that lie?
Student 3: Well…well…ah, maybe the jews used this book to make their plans!
Student 4: Yeah.
Even if it is a fake! People should read the book because it reveals the jews!!
Graphic novelist: That doesn’t make sense, it…”

Will Eisner (1917–2005) American cartoonist

Source: The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005), p.124

People, Lie, Books, Feeling

“The double reservoir at the top shows the amount of money in the hands of individuals and available for expenditure in consumption. This is what we have previously called the consumers' fund. The reservoir is divided into two parts in order graphically to represent the fact that a large part of the money received by individuals is income, most of which is spent in consumption; while a smaller part is money received from the sale of real estate, bonds and stocks, most of which is reinvested. The two parts of the reservoir, however, are connected with pipes, in order to take account of the fact that some income is invested and some money received from the sale of securities is spent in consumption. These connecting pipes are important. We must bear in mind that they are always partly, and never wholly, clogged. By their aid, we may visualize the fact that we have no means of knowing how much of the consumers' fund actually will be spent in consumption in any given period of time.”

William Trufant Foster (1879–1950) American economist

Source: The circuit flow of money, 1922, p. 264

Money, Time, Parting

“Research desk: In 1992, a Mexican edition of the “Protocols"’’’ was listed in a few Catholic schools as required reading!
And that same year in Turkey, a newspaper carried a 40-page insert that linked Freemasonry to Jewish world power headed by 70 elders!
Again in 1992 a Russian edition of the “Protocols of Zion” appeared.
Well, that’s the whole story, sir.

Graphic novelist: Thank you! But this is only one element of the whole story!”

Will Eisner (1917–2005) American cartoonist

Source: The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005), p.119

World, School, Appearance, Reading

“[to] think, in a certain way, of the power and severity of Romanesque paintings... Go to the beach and make graphic signs in the sand, draw by pissing on the dry ground, design in space by recording the songs of the birds, the sounds of water and wind.... and the chant of insects.”

Joan Miró (1893–1983) Catalan painter, sculptor, and ceramicist

'Working notes of Miro, 1940 – 1941'; as quoted in: Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 69
1940 - 1960

Way, Bird, Thinking, Water

“Structured analysis (SA) combines blueprint-like graphic language with the nouns and verbs of any other language to provide a hierarchic, top-down, gradual exposition of detail in the form of an SA model. The things and happenings of a subject are expressed in a data decomposition and an activity decomposition, both of which employ the same graphic building block, the SA box, to represent a part of a whole. SA arrows, representing input, output, control, and mechanism, express the relation of each part to the whole.”

Douglas T. Ross (1929–2007) American computer scientist

Source: Structured analysis (SA): A language for communicating ideas (1977), p. 16.

Parting, Box

“In the judgment of design engineers, the ordinary means of communicating with a computer are entirely inadequate. […] Graphical communication in some form or other is of vital importance in engineering as that subject is now conducted; we must either provide the capability in our computer systems, or take on the impossible task of training up a future race of engineers conditioned to think in a different way.”

Maurice Wilkes (1913–2010) British computer scientist

Sect. 4: Design and Assembly
"Computers Then and Now" (1968)

Way, Communication, Thinking, Future

“A tendency toward the abstract is inherent in linear expression: graphic imagery being confined to outlines has a fairy-like quality and at the same time can achieve great precision.”

Paul Klee (1879–1940) German Swiss painter

Section I
1916 - 1920, Creative Credo (1920)

Time

“2000
Louisiana, U. S. A.

Graphic novelist: Down here I discover that “The Christian Defense League” is distributing copies of “The International Jew,” which Henry Ford published years ago!
Man smoking pipe: Not only here!! Recently in Lebanon, the brother of the late president of Egypt, Nasser, published a Lebanese edition of the “Protocols!””

Will Eisner (1917–2005) American cartoonist

The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005)

“Apple's two most memorable accomplishments are the GUI, or graphical user interface, and the mouse, both of which it literally stole from Xerox PARC.”

Rob Enderle (1954) American financial analyst

Technology Trends: Looking Back at 2015 http://itbusinessedge.com/blogs/unfiltered-opinion/technology-trends-looking-back-at-2015.html in IT Business Edge (29 December 2015)

Guy

“Professor S. A. A. Rizvi gives some graphic details of this dream described by Shah Waliullah himself in his Fuyûd al-Harmayn which he wrote soon after his return to Indian in 1732: “In the same vision he saw that the king of the kafirs had seized Muslim towns, plundered their wealth and enslaved their children. Earlier the king had introduced infidelity amongst the faithful and banished Islamic practices. Such a situation infuriated Allah and made Him angry with His creatures. The Shah then witnessed the expression of His fury in the mala’ala (a realm where objects and events are shaped before appearing on earth) which in turn gave rise to Shah’s own wrath. Then the Shah found himself amongst a gathering of racial groups such as Turks, Uzbeks and Arabs, some riding camels, others horses. They seemed to him very like pilgrims in the Arafat. The Shah’s temper exasperated the pilgrims who began to question him about the nature of the divine command. This was the point, he answered, from which all worldly organizations would begin to disintegrate and revert to anarchy. When asked how long such a situation would last, Shah Wali-Allah’s reply was until Allah’s anger had subsided… Shah Wali-Allah and the pilgrims then travelled from town to town slaughtering the infidels. Ultimately they reached Ajmer, slaughtered the nonbelievers there, liberated the town and imprisoned the infidel king. Then the Shah saw the infidel king with the Muslim army, led by its king, who then ordered that the infidel monarch be killed. The bloody slaughter prompted the Shah to say that divine mercy was on the side of the Muslims.””

Shah Waliullah Dehlawi (1703–1762) Indian muslim scholar

S.A.A. Rizvi, Shah Wali-Allah and His Times, Canberra. 1980, p.218. Quoted from Goel, Sita Ram (1995). Muslim separatism: Causes and consequences. ISBN 9788185990262

Children, Faith, Dreams, Travel

“Mr. Magoo Rule: Text and graphics must be easily distinguished and recognized. Don ́t make your audience members feel like the vision challenged Mr. Magoo—viewers of an electronic slideshow should not risk eyestrain!”

Stephen Kosslyn (1948) American psychologist

Source: Better PowerPoint (R), 2010, p. 11

Feeling

“The Greeks used to put a lot of bodily functions in their plays, and a lot of graphic sexual material, because they believed, that in performing that way it released the demons of shame from the audience, which is what I believe. Cuz I think we’re all pretty much the same, and we all have grown up with that shame-based thing that America deals with, right? And to sit there and hear someone talk about their love of having sex, whatever, makes you feel like you’re not alone, with what you think maybe are dark, twisted thoughts, cuz they’re not. We all share these thoughts. So that’s why I talk like I do, or did, before I retired tonight.”

Bill Hicks (1961–1994) American comedian

Relentless (1992)

Love, Sex, Way, Feeling

“Boughton together with Abbey are making for Harper in New York drawings called "Picturesque Holland".... now I say to myself if the Graphic and Harper send their draughtsmen to Holland they would perhaps not be unwilling to accept a draughtsman from Holland [Vincent himself], if he can furnish some good work for not too much money. I should prefer to be accepted on regular monthly wages rather than to sell a drawing now and then at a relatively high price.”

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

Quote in his letter to brother Theo, from The Hague, The Netherlands, Summer 1883; 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 288) p. 21 1880s, 1883

Money, Drawing

“It is significant that nothing resembling Platonism arose in China. Classical Chinese script is not ideographic, as used to be thought; but because of what A. C. Graham terms its 'combination of graphic wealth with phonetic poverty' it did not encourage the kind of abstract thinking that produced Plato's philosophy. Plato was what historians of philosophy call a realist - he believed that abstract terms designated spiritual or intellectual entities. In contrast, throughout its long history, Chinese thought has been nominalist - it has understood that even the most abstract terms are only labels, names for the diversity of things in the world. As a result, Chinese thinkers have rarely mistaken ideas for facts. Plato's legacy to European thought was a trio of capital letters - the Good, the Beautiful and the True. Wars have been fought and tyrannies established, cultures have been ravaged and peoples exterminated in the service of these abstractions. Europe owes much of its murderous history to errors of thinking engendered by the alphabet.”

John Gray book Straw Dogs: Thoughts on Humans and Other Animals

The Deception: Plato and the alphabet (p. 57-8)
Straw Dogs: Thoughts on Humans and Other Animals (2002)

War, People, World, Beauty

“This is what I do, I draw, I reacted graphically, just drawing something spontaneously with pen and paper and then sharing it as a raw reaction. With so much violence and tragedy — we just want a bit of peace.”

Jean Jullien (1983) french graphic designer, illustrator, video artist and photographer

Slate interview (2015)

Peace, Drawing

“The plane is the mainstay of all graphic representation. It is so familiar that its properties seem self-evident, but the most familiar things are often the most poorly understood. The plane is homogeneous and has two dimensions. The visual consequences of these properties must be fully explored.”

Jacques Bertin (1918–2010) French geographer and cartographer

Source: Semiology of graphics (1967/83), p. 44

“Born and brought up in New York City and having survived and thrived there, I carry with me a cargo of memories, some painful and some pleasant, which have remained in the hold of my mind. I have an ancient mariner’s need to share my accumulation of experience and observations. Call me, if you will, a graphic witness reporting on life, death, heartbreak and the never-ending struggle to prevail…or at least to survive.”

Will Eisner (1917–2005) American cartoonist

XIII, December 2004
A Contract With God (2004)

Life, Death, Pain, Memory

“By the time the think-tank lifers arrived in Baghdad, the crucial roles in the reconstruction had already been outsourced to Halliburton and KPMG. THeir job as the public servants was simply to administer the petty cash, which in Iraq took the form of handling shrink-wrapped bricks of hundred-dollar bills to contractors. It was a graphic glimpse into the acceptable role of government in a corporatist state - to act as a conveyor belt for getting public money into private hands, a job for which ideological commitment is far more relevant than elaborate field experience.”

Naomi Klein (1970) Canadian author and activist

The Shock Doctrine: The Rise of Disaster Capitalism (2007)

Money, Thinking, Time

“That game, just the brutal simplicity. It’s amazing as a game designer you want to have the latest graphics, and you want the Chicago Symphony playing your background music, and you want Harrison Ford and Matt Damon as your starring characters. But if you have an incredibly addictive game, you don’t need any of that crap. You just need blocks.”

Eugene Jarvis (1955) American game designer and game programmer

"Newcity Chicago," April 2008, on the arcade game "Tetris"

Music, Game, Star

“V has come to be my last Metal Gear.
It has been an honor and a joy to have been given the opportunity to work on Metal Gear for nearly twenty amazing years.
Tоday's computer graphics, technology, and hardware—compared to those of twenty years ago—have evolved so significantly. As a result, the art that can be created has dramatically changed.
However, the process of conceptualizing and creating a character by understanding their personality, their habits, their backstory, and the role they play—this has fundamentally remained the same. Refining ideas and doing countless sketches over and over are tasks that at times feel formidable and complex. At the same time, they are very fun and gratifying.”

Yoji Shinkawa (1971) Japanese illustrator

Foreword to The Art of Metal Gear Solid V, Dark Horse Comics, 2016, p. 7 https://books.google.it/books?id=BerxDAAAQBAJ&pg=PA7.

Art, Feeling, Idea, Understanding

“Insulting the Prophet is something that has been going on in Europe for a very long time. In Dante's Inferno, if you're interested in the 28th Canto, where Dante is being taken on his conducted tour of hell and guided by Virgil, he comes across the Prophet Mohammed in the course of his eternal damnation. He is punished I quote Dante's words, as a seminator di scandalo e di scisma, a sower of scandal and of schism. Now, this is very insulting. In the great Cathedral of Bologna there is a wonderful set of pictures painted, if I remember rightly, in the 15th century depicting scenes from Dante's Inferno, including some very graphic pictures of Mohammed being tortured in hell by the devil very graphic.
Nobody did anything about this. A couple of years ago, the leaders of the Italian-Muslim community sent a polite request to the cathedral saying these are insulting to Muslims; would they mind covering those pictures. The cathedral administration said they would consider it. Nothing happened. The pictures are still in view.”

Bernard Lewis (1916–2018) British-American historian

Books, Islam and the West: A Conversation with Bernard Lewis (2006)

Quotes, Communication, Hell, Time

“Many fields use patterns in various ways: In music and literature, a pattern is the coherent structure or design of a song or book. In art, a pattern is the composition or plan of a work of graphic or plastic art. In architecture, a pattern is an architectural design or style. In psychology, a pattern is a thinking mechanism that is basic to the brain's operation, helping one to perceive things quickly. In archeology, a pattern is a group of phases having several distinguishing and fundamental features in common. In linguistics, a pattern is the manner in which smaller units of language are grouped into larger units…”

Peter Coad (1953) American software entrepreneur

Source: Object-oriented patterns. (1992), p. 152

Books, Art, Music, Way

“I wasn't a fan of the gameplay in Postal 2, I loved the message that the company was trying to put out. Because you can play Postal 2 in the most violent and graphic way, but you can also play it without hurting a single person. I don't know anyone who's played it like that, but I like that the people who made Postal are saying you can get through this game without any violence.”

Michael Simms (software developer) (1973) Video game programmer

Quoted in Graham Morrison, "Bringing Windows games to Linux" http://www.techradar.com/news/gaming/bringing-windows-games-to-linux-622659?artc_pg=1 TechRadar UK (2009-08-10)

Love, People, Way, Game

“A graphic is a diagram when correspondences on the plane can be established among all elements of another component.”

Jacques Bertin (1918–2010) French geographer and cartographer

Source: Semiology of graphics (1967/83), p. 193

“.. if the objects will be mathematical values, the ambient in which they live will be a particular rhythm in the emotion which surrounds them. The graphic translation of this rhythm will be a state of form, a state of color, each of which will give back to the spectator the 'state of mind' which produced it..”

Umberto Boccioni (1882–1916) Italian painter and sculptor

in a letter of 12 Feb. 1912 from Paris, to his friend Nino Barbantini (director of the Ca' Pesaro in Venice); as cited in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003, p. 67 1912

Color, Mathematics

“The listener with no preconceptions hears massive waves of sound breaking over him and forms from them the image of a passionate soul seeking and finding the path to faith and peace in God through a life of struggle and a vigorous pursuit of ideals. It is impossible not to hear the confessional tone of this musical language; Liszt’s sonata becomes - perhaps involuntarily on the part of the composer - an autobiographical document and one which reveals an artist in the Faustian mold in the person of its author. As in the Harmonies poétiques et religieuses, the underlying religious concept which dominates and permeates the whole work demands a special kind of approach. Whereas representations of human passions and conflicts force themselves on our understanding with their powerfully suggestive coloring, this concept only becomes manifest to those souls who are prepared to soar to the same heights. The equilibrium of the sonata’s hymnic chordal motif, the transformation of its defiant battle motif (first theme) into a triumphant fanfare, and its appearance in bright, high notes on the harp, together with the devotional atmosphere of the Andante, represent a particular challenge to the listener; he is, after all, also expected to grasp the wide-spanned arcs of sound which, from the first hesitant descending octaves to the radiant final chords, build up a graphic panorama of the various stages of progress of a human spirit filled with faith and hope. As the reflection of a remarkable artistic personality worthy of deep admiration and, by extension, of the whole Romantic period, Liszt’s B minor Sonata deserves lasting recognition.”

Burkard Schliessmann classical pianist

About the Liszt Sonata in B minor

Life, God, Peace, Faith

“The special effects are more sophisticated. The materials and techniques used to construct the monster costumes and miniature sets have improved, and we now use computer graphics. However, the earlier Godzilla films are much more profound. I think the reason for this is the fact that the people who worked on them experienced World War II firsthand. Shinichi Sekizawa served in the South Pacific, and Mr. Honda was a prisoner of war in China for quite some time. The earlier films also are more detailed. For example, there are more reaction shots in them. The expressions on people's faces are shown more often, and the effects of the monsters' actions are shown more often. On the other hand, the newer movies are more contemporary in that they address current issues such as bio-technology and environmental destruction. The earlier films didn't do that as much.”

Kenpachiro Satsuma (1947) Japanese actor

As quoted by David Milner, "Kenpachiro Satsuma Interview III" http://www.davmil.org/www.kaijuconversations.com/satsum3.htm, Kaiju Conversations (December 1995)

War, People, World, Thinking

“Designed as a companion volume to the acclaimed Object-Oriented Analysis, this book focuses on the middle part of the software lifecycle: the activity of design. It shows readers how to apply object-oriented design, and how to tailor and expand the method to suit specific organization and project needs. Readers will explore the major issues in OOD; the role of OOD in the systems lifecycle; how to use graphical notation; strategies for creating design; and hints for evaluating the efficiency of a design created with OOD. For software engineers and other users undertaking real-world systems development projects and designing overall software architecture for systems will find this reference approach to improving systems design indispensable.”

Ed Yourdon (1944–2016) American software engineer and pioneer in the software engineering methodology

Abstract.
Object-oriented design (1991)

Books, World, Parting

“On the second Michael Jackson trial, speaking on "Larry King Live," CNN, Feb. 21, 2003: "But I'm telling you, this boy, two-thirds of this can be corroborated by other people. So why would he lie about the molestation part? It is in graphic detail. It just seems true… I think Michael Jackson walks. And I think it's a disgrace. He's guilty."”

Nancy Grace (1959) American legal commentator, television host, television journalist, and former prosecutor

"Larry King Live", CNN (Feb. 21, 2003), reported in " Jacko Not Guilty: Past Predictions https://web.archive.org/web/20061115152018/http://www.mediabistro.com/tvnewser/court_cases/jacko_not_guilty_past_predictions_22555.asp", TVNewser.com (June 14, 2006).

People, Lie, Boy, Thinking

“What I proposed was a computer that would be easy to use, mix text and graphics, and sell for about $1,000. Steve Jobs said that it was a crazy idea, that it would never sell, and we didn't want anything like it. He tried to shoot the project down.”

Jef Raskin (1943–2005) American computer scientist

Programmers At Work (1986)

Idea

“Draw all kind of everyday object placed, in such a way that they have in them the life of the man or woman – corsets that have just been removed, for example, and which retain the form of the body. Do a series in aquatint on mourning, different blacks – black veils of deep mourning floating on the face – black gloves – mourning carriages, undertaker’s vehicles – carriages like Venetian gondolas. On smoke – smoker’s smoke, pipes, cigarettes, cigars – smoke from locomotives, from tall factory chimneys, from steam boats, etc. On evening – infinite variety of subjects in cafes, different tones of glass robes reflected in the mirrors. On bakery, bread. Series of baker's boys, seen in the cellar itself or through the basement windows from the street – backs the colour of the pink flour – beautiful curves of dough – still-life's of different breads, large, oval, long, round, etc. Studies in color of the yellows, pinks, grays, whites of bread…… Neither monuments nor houses have ever been done from below, close up as they appear when you walk down the street. [a working note in which Degas planned series of views of modern Paris, the same time when he sketched the backstreet brothels, making graphic unflinching and even his realistic 'pornographic' sketches he called his 'glimpses through the keyhole', in which he also experimented with perspectives]”

Edgar Degas (1834–1917) French artist

Quote from Degas' Notebooks; Clarendon Press, Oxford 1976, nos 30 & 34 circa 1877; as quoted in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 182
quotes, undated

Life, Beauty, Color, Way

“Data is transformed into graphics to understand. A map, a diagram are documents to be interrogated. But understanding means integrating all of the data. In order to do this it’s necessary to reduce it to a small number of elementary data. This is the objective of the “data treatment” be it graphic or mathematic.”

Jacques Bertin (1918–2010) French geographer and cartographer

About the true value of graphics
Interview with Jacques Bertin (2003)

Mathematics, Understanding

“The aim of the graphic is to make the relationship among previously defined sets appear.”

Jacques Bertin (1918–2010) French geographer and cartographer

Source: Semiology of graphics (1967/83), p. 176

Appearance

“I wrote the first 5,000 words of William the Antichrist. It had a demon named Crawleigh. He drove a Citroen 2CV, and was ineffectual. Proper demons like Hastur and Ligur loathed him. It had a baby swap. I sent it to a few friends for feedback. Then my graphic novel Sandman happened, and it was almost a year later that the phone rang.
"It's Terry," said Terry. "'Ere. That thing you sent me. Are you doing anything with it?"
"Not really."
"Well, I think I know what happens next. Do you want to sell it to me? Or write it together?"
"Write it together," I said, because I was not stupid, and because that was the nearest I was ever going to get to Michaelangelo phoning to ask if I wanted to paint a ceiling with him.”

Neil Gaiman (1960) English fantasy writer

Good Omens: How Neil Gaiman and Terry Pratchett wrote a book (2014)

Stupidity, Thinking, Baby, Painting

“My etchings have.... the mistake of being processed as images and to have at the same time the meaning of epigrams. It is the union of pure painting with pure graphics... From now onwards my task will be the division of art and graphics, and the full development of both fields. The pure art has already turned to impressionism and the graphics is going to do it.”

Paul Klee (1879–1940) German Swiss painter

Quote in a letter to his wife, 12 June, 1906; as cited in Paul Klee. Das Frühwerk 1883-1922, p. 50.
1903 - 1910

Art, Time, Painting

“It is common to think of statistical graphics and data visualization as relatively modern developments in statistics. In fact, the graphic representation of quantitative information has deep roots. These roots reach into the histories of the earliest map-making and visual depiction, and later into thematic cartography, statistics and statistical graphics, medicine, and other fields. Along the way, developments in technologies (printing, reproduction) mathematical theory and practice, and empirical observation and recording, enabled the wider use of graphics and new advances in form and content.”

Michael Friendly (1945) American psychologist

Michael Friendly. " A brief history of data visualization http://www.datavis.ca/papers/hbook.pdf at datavis.ca, March 21, 2006.

Way, History, Mathematics, Thinking

“Research desk: Despite the Russian court’s condemnation and the Dodd Keating congressional report in 1964, the world wide use and publication of the “Protocols” has continued.
Not only did the Ku Klux Klan continue to distribute the book in America.. but in 1968, in Beiruit, the Islamic institute there published 300,000 copies in French, Italian, Spanish, and Arabic.
Graphic novelist: Then why? Why? When everyone knows that the “protocols” is a fake… why are they still publishing it?”

Will Eisner (1917–2005) American cartoonist

'Research desk: Because it is a weapon of mass deception!'
Source: The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005), p.114

Books, World

“I do graphics commercially for a living, but when I get affected by things, when something happens in the world, I usually communicate online with my drawings.”

Jean Jullien (1983) french graphic designer, illustrator, video artist and photographer

Slate interview (2015)

World, Communication, Drawing

“Roe was a shock to me because even at 16 or 17 years old I understood that abortion was killing an unborn baby. I mean it was simple and straightforward and indeed it is simple and straightforward. We try to make this complicated, but it's simple and straightforward. You've got a new human life developing in the mother's womb and abortion is the business of killing that baby. Now, the Planned Parenthood videos have made that very graphic but you didn't actually need the videos, uh, at least I didn't need to the videos to know that. But even then we didn't think of abortion as something Democrats were for and Republicans were against. The division of the parties into a pro-abortion party and an anti-abortion party came a little later.”

Robert P. George (1955) American legal scholar

2016, Interview with Bill Kristol (2016)

Life, Business, Thinking, Baby

“The most graphic description of the Muslim army is by a Hindu, the famous Maithli poet Vidyapati of the fourteenth century. Vidyapati was patronised by Sultans Ghiyasuddin and Nasiruddin of Bengal. Writing about Muslim soldiers, he says:
“Sometimes they ate only raw flesh. Their eyes were red with the intoxication of wine. They could run twenty yojanas within the span of half of a day. They used to pass the day with the (bare) loaf under their arm… (The soldier) takes into custody all the women of the enemy’s city… Wherever they happened to pass in that very place the ladies of the Raja’s house began to be sold in the market. They used to set fire to the villages. They turned out the women (from their homes) and killed the children. Loot was their (source of) income. They subsisted on that. Neither did they have pity for the weak nor did they fear the strong… They had nothing to do with righteousness… They never kept their promise… They were neither desirous of good name, not did they fear bad name…”
At another place he says: “Somewhere a Musalman shows his rage and attacks (the Hindus)… It appears on seeing the Turks that they would swallow up the whole lot of Hindus.””

Vidyapati

Vidyapati, Kirtilata. Quoted from Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan.

Women, Children, Fear, Home

“But somewhere [during the 1950's, in East-Germany at the Art Academy] along the way we all began to notice that there was something wrong. We saw a few art magazines from the West and got a sense of another world. We began to talk about a third way between capitalism and Communism in art. I saw the work of graphic designers from Poland, the only ones [in communist area] I came across who seemed to be doing something for society but in a style that was more modern.”

Gerhard Richter (1932) German visual artist, born 1932

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

World, Art, Way, Communication

“Jacques Bertin's books Semiology of Graphics and Graphics and Graphic Information Processing have been stimuli for my own thinking about the representation and analysis of geographic information. I have also used both books as core readings for graduate seminars and they have generated lively discussion and prompted innovative research. I often ask graduate students to consider how cartographic research and practice in the U. S. might be different today if the English edition of Semiology of Graphics had appeared in 1967 (when it was published in French), rather than in 1983. I know that my own work would have been dramatically different if I had encountered these ideas a decade and a half sooner.”

Alan MacEachren (1952) American geographer

Alan MacEachren (2000) " An evolving cognitive-semiotic approach to geographic visualization and knowledge construction http://www.geovista.psu.edu/storage/alan/amm_InfoDesign.pdf"

Books, Idea, Thinking, Appearance

“I've no objection to the term 'graphic novel,' as long as what it is talking about is actually some sort of graphic work that could conceivably be described as a novel. My main objection to the term is that usually it means a collection of six issues of Spider-Man, or something that does not have the structure or any of the qualities of a novel, but is perhaps roughly the same size.”

Alan Moore (1953) English writer primarily known for his work in comic books

Interview with Locus Magazine http://www.locusmag.com/2003/Issue07/Moore.html (2003)

“Things like a spreadsheet and graphics package mean that people can use their computer for working. Games mean that people can ENJOY their computer. If all you have is productivity apps, then Linux will be a fine OS for work, but who is going to really want it around in the home if all they can do on it is work.”

Michael Simms (software developer) (1973) Video game programmer

Quoted in "Linux Game Publishing: An Interview With Michael Simms" http://web.archive.org/web/20050712080821/http://www.linuxgazette.com/node/10249 Linux Gazette (2005-06-03)

People, Home, Game

“Dualism is particularly important in both my paintings and my graphics.”

Emil Nolde (1867–1956) German artist

from: Years of Struggle 1902-14' Autobiography Berlin 1934
1921 - 1956

Painting

“1993 California
Los Angeles Times November 28, 1993
“In what observers called an historic ruling, a Russian court has pronounced the infamous ‘’Protocols of Zion’’ an anti-semitic forgey…[It is] the first such verdict in the land where the fraud originated 90 years ago. ‘Up to now, every country has disengaged itself from this shameful book except Russia where it was concocted,’ Tancred Golenpolsky, the publisher of the Moscow Jewish newspaper that won the ruling, said Saturday. The court cast arose 10 months after Golenpolsky’s Jewish Gazette accused the radical nationalist Group Pamyat (Memory) of printing anti-Semitic sentiments…Fostering ethnic conflict is punishable under Russian law.”
Graphic novelist: I’m writing a graphic book that will reveal the true origin of the infamous “Protocols of Zion.” I hope it will alert those who are ignorant of its falsehood!!
Research desk: Haw! Good luck! You’re dealing with an old vampire that will not die in spite of all the absolute proof of fraudulence.”

Will Eisner (1917–2005) American cartoonist

Source: The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005), p.113

Books, Law, Hope, Angels

“As with any graphic, networks are used in order to discover pertinent troups of to inform others of the groups and structures discovered. It is a good means of displaying structures, However, it ceases to be a means of discovery when the elements are numerous. The ﬁgure rapidly becomes complex, illegible and untransformable.”

Jacques Bertin (1918–2010) French geographer and cartographer

Source: Graphics and graphic information processing (1981), p. 129: About why draw a network?

“The woodcut is the most graphic of the printmaking techniques. Its practice demands much technical ability and interest. Kirchner's technical skill made woodcutting easy for him. Thus he came in a spontaneous way through the simplification necessary here to a clear style of representation. We see in his woodcuts, which constantly accompanied his creative work, the formal language of the paintings prefigured.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

de:Louis de Marsalle (pseudonym of Kirchner) Uber Kirchners Graphik, Genius 3, no. 2 (1921), p. 252-53; as quoted in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 52
1920's

Way, Painting

“This report summarizes the activities of the M. I. T. Computer-Aided Design (CAD) Project from 1 December 1959 through 3 May 1967 in the development of a generalized 'system of software systems' for generating specialized problem-solving systems using high-level language techniques and advanced computer graphics. Known as the AED Approach (for Automated Engineering Design) the Project results are applicable not only to mechanical design, as an extension of earlier development of the APT System for numerical control, but to arbitrary scientific, engineering, management, and production systems as well.”

Douglas T. Ross (1929–2007) American computer scientist

D.T. Ross & John Erwin Ward (1968). Investigations in computer-aided design for numerically controlled production http://dspace.mit.edu/bitstream/handle/1721.1/755/FR-0351-19563962.pdf?sequence=1. Electronic Systems Laboratory, Electrical Engineering Dept., Massachusetts Institute of Technology. p. iii Abstract.

Problem

“Thoughts at the open window of the payroll department [in a military barrack - World War I. ]: That everything is transitory is merely a simile. Everything we see is a proposal, a possibility, an expedient. The real truth, to begin with, remains invisible beneath the surface. The colors that captivate us are not lighting, but light. The graphic universe consists of light and shadow. The diffused clarity of slightly overcast weather is richer in phenomena than a sunny day. A thin stratum of cloud just before the stars break through. It is difficult to catch and represent this, because the moment is so fleeting. It has to penetrate into our soul. The formal has to fuse with the Weltanschauung”

Paul Klee (1879–1940) German Swiss painter

world view
Quote (July 1917), # 1081, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1916 - 1920

War, Truth, World, Color

“To analyse graphic representation precisely, it is helpful to distinguish it from musical, verbal and mathematical notations, all of which are perceived in a linear or temporal sequence. The graphic image also differs from figurative representation essentially polysemic, and from the animated image, governed by the laws of cinematographic time. Within the boundaries of graphics fall the fields of networks, diagrams and maps. The domain of graphic imagery ranges from the depiction of atomic structures to the representation of galaxies and extends into the spheres of topography and cartography.”

Jacques Bertin (1918–2010) French geographer and cartographer

Source: Semiology of graphics (1967/83), p. 2

Law, Music, Mathematics, Time

“In analyzing organization work, a single chart can frequently express more than any amount of detailed written explanation. First of all, clearly define author- ities within your establishment; then chart those authorities simply and graphically, so that every workman knows to whom he is responsible, and every executive knows who is responsible to him. Place this chart conspicuously in every department where each employee can see it. In case of disputed authority, final proof is immediately at hand. There is then no loop-hole through which a neglectful workman, foreman or executive can crawl no longer does he have the excuse that he thought somebody else was going to do it. In clean-cut form, his duties and relations to other men of the organization are laid down once and for all, and responsibility rests on the right man. Failure so to specify responsibilities inevitably means confusion all down the line.”

Clinton Edgar Woods (1863) American engineer

Source: Industrial organization (1914), p. 24-25

Men, Failure

“The use of computers shouldn’t ignore the objectives of graphics, that are:”

Jacques Bertin (1918–2010) French geographer and cartographer

Treating data to get information.
Communicating, when necessary, the information obtained.
Computers are able to multiply useless images without taking into account that, by definition, every graphic corresponds to a table. This table allows you to think about three basic questions that go from the particular to the general level. When this last one receives an answer, you have answers for all of them. Understanding means accessing the general level and discovering significant grouping (patterns). Consequently, the function of a graphic is answering the three following questions:
Which are the X,Y, Z components of the data table? (What it’s all about?)
What are the groups in X, in Y that Z builds? (What the information at the general level is?
What are the exceptions?
These questions can be applied to every kind of problem. They measure the usefulness of whatever construction or graphical invention allowing you to avoid useless graphics.
About the role of computers in Information Visualisation.
Interview with Jacques Bertin (2003)

“The graphic portrayal of quantitative information has deep roots. These roots reach into histories of thematic cartography, statistical graphics, and data visualization, which are intertwined with each other. They also connect with the rise of statistical thinking up through the 19th century, and developments in technology into the 20th century. From above ground, we can see the current fruit; we must look below to see its pedigree and germination. There certainly have been many new things in the world of visualization; but unless you know its history, everything might seem novel.”

Michael Friendly (1945) American psychologist

Michael Friendly. " Milestones in the history of thematic cartography, statistical graphics, and data visualization http://www.math.yorku.ca/SCS/Gallery/milestone/milestone.pdf, at math.yorku.ca, 2008.

World, History, Thinking

“Speed is scarcely the noblest virtue of graphic composition, but it has its curious rewards. There is a sense of getting somewhere fast, which satisfies a native American urge.”

James Thurber (1894–1961) American cartoonist, author, journalist, playwright

Preface to A Thurber Garland (1955)
From other writings

Sense, Speed

“I am a graphic artist heart and soul, though I find the term "artist" rather embarrassing.”

M. C. Escher (1898–1972) Dutch graphic artist

1950's, On Being a Graphic Artist', 1953

Soul, Heart

“Publisher: But the good news is…. the U. S. state department called on Egypt to stop it…and the intellectual community of Egypt helped to prevent its broadcast. And recently the Russian government appointed a group of independent experts who examined and certified that the “protocols of Zion” is a fraud!
Graphic novelist: At last, at last!
Publisher: So, we can finally say that this is the end of the “Protocols of Zion,” eh?
Finally, finally!!”

Will Eisner (1917–2005) American cartoonist

Source: The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005), p.126

Communication, Fraud, Help

“North Koreans now understand that South Korea is very rich. It is true, but there is a great difference between vaguely understanding something and having such graphic images of neighbors' prosperity flooding your daily life. As is usually the case, such pictures are liable to be exaggerated at first. An outsider in a rich country usually cannot immediately see the contradictions, problems and tensions that exist behind the sparking, glistening, glitzy facade. For the North Koreans, this picture of the South Korean prosperity would likely be seen as vivid proof of the complete failure of their leadership. The North Korean elite cannot even use the usual trick of putting the blame at the doors of their predecessors: This elite is hereditary, so the buck cannot be easily passed.”

Andrei Lankov (1963) Russian academic

The Folly of an Inter-Korean Confederation (October 2015)

Life, Failure, Understanding, Problem

“This is a war," Leamas replied. "It's graphic and unpleasant because it's fought on a tiny scale, at close range; fought with a wastage of innocent life sometimes, I admit. But it's nothing, nothing at all beside other wars – the last or the next.”

John le Carré (1931) British novelist and spy

The Spy Who Came In From the Cold (1963)

Life, War

“Growing up with violence, with inescapable expertly choreographed brutality in every home builds not only a kind of desensitization for it, but it also creates a market for violent entertainment by people for whom even what they see on television is not enough, is not graphic enough, is not explicit enough, and some movie productions, some big productions really cash in on that market. What is peculiar about this is that as time goes on, a greater dosage is necessary to satisfy this need.”

George Gerbner (1919–2005) American writer, freelancer and sociologist

The Killing Screens: Media and the Culture of Violence

People, Home, Time

“The design process involves a series of operations. In map design, it is convenient to break this sequence into three stages. In the first stage, you draw heavily on imagination and creativity. You think of various graphic possibilities, consider alternative ways…”

Arthur H. Robinson (1915–2004) American geographer

Source: Elements of Cartography (1953), p. 318

Way, Imagination, Thinking, Drawing

“My mom was always my biggest teacher, my inspiration, my role model. My mom was just the most amazing person. She was like a bon vivant in that she just lived each day to the fullest. As soon as I became a vegetarian, she became a vegetarian. … I was actually inspired by a book she was reading that I picked up off the nightstand when I was about 13. It was a Norman Mailer book [Miami and the Siege of Chicago] and it had a very graphic scene of the slaughterhouses in Chicago. So I read that and I said, "I love animals. I don't want to be a part of that system."”

Christie Brinkley (1954) American model

“Christie Brinkley on Skin Care and the Secret to Staying Young”, interview with Elle (5 March 2015) http://www.elle.com/beauty/makeup-skin-care/news/a27143/christie-brinkley-on-skincare-and-the-secret-to-staying-young/.

Love, Books, Moms, Teachers

“The problem that still remains to be solved is that of the orderable matrix, that needs the use of imagination… When the two components of a data table are orderable, the normal construction is the orderable matrix. Its permutations show the analogy and the complementary nature that exist between the algorithmic treatments and the graphical treatments.”

Jacques Bertin (1918–2010) French geographer and cartographer

About the traditionally low interest in theory of graphics
Interview with Jacques Bertin (2003)

Imagination, Nature, Problem

“Graphics owes its special significance to its double function as a storage mechanism and a research instrument.”

Jacques Bertin (1918–2010) French geographer and cartographer

Source: Semiology of graphics (1967/83), p. 2

“We live in an entertainment culture soaked in graphic, often sadistic, violence. Older folks find themselves stunned by what a desensitized youth finds routine, often amusing. It’s not just movies. Young men sit for hours pulling video-game triggers, mowing down human beings en masse without pain or consequence. And we profess shock when a small cadre of unstable, deeply deranged, dangerously isolated young men go out and enact the overlearned narrative.”

Charles Krauthammer (1950–2018) American journalist

2010s, 2012, Roots of mass murder: Getting serious about stopping the psychotic (2012)

Men, Pain, Youth, Game

“Even 'Jurassic Park III' tried to jump on the avian-dino bandwagon by making a brave attempt to adorn Velociraptor with a feathery hair-piece. (The result looked like a roadrunner's toupee- don't blame the effects-artists; it's notoriously difficult to render feathers in computer graphics animation, so we'll have to wait for 'JP IV' for a more thoroughly rendered avian pelage.)”

Robert T. Bakker (1945) American paleontologist

“Dinosaurs Acting Like Birds, and Vice Versa – An Homage to the Reverend Edward Hitchcock, First Director of the Massachusetts Geological Survey” in Feathered Dragons. Currie, P.; Koppelhus, E.; Shugar, M.; Wright J. eds. 2004. Bloomington: Indiana University Press. pp. 1-11.

Waiting, Animals

“Conceptual graphs are system of logic based on the existential graphs of Charles Sanders Peirce and the semantic networks of artificial intelligence. The purpose of the system is to express meaning in a form that is logically precise, humanly readable, and computationally tractable. With their direct mapping to language, conceptual graphs can serve as an intermediate language for translating computer-oriented formalisms to and from natural languages. With their graphic representation, they can serve as a readable, but design and specification language.”

John F. Sowa (1940) artificial intelligence researcher

Source: Conceptual graphs for knowledge representation, 1993, p. 3-51. cited in: Bernhard Ganter, Gerd Stumme, Rudolf Wille (2005) Formal Concept Analysis: Foundations and Applications. p. 87

Intelligence, Nature

“Graphic work as the expressive movement of the hand holding the recording pencil.... is so fundamentally different from dealing with tone and color that one can use this technique quite well in the dark, even in the blackest night. On the other hand, tone (movement from light to dark) presupposes some light, and color presupposes a great deal of light.”

Paul Klee (1879–1940) German Swiss painter

Quote (1912), # 928, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1911 - 1914

Color, Light, Night

“The new art must be based upon science — in particular, upon mathematics, as the most exact, logical, and graphically constructive of the sciences.”

Albrecht Dürer (1471–1528) German painter, printmaker, mathematician, and theorist

As quoted in Dictionary of Scientific Biography (1970 - 1990) edited by M Steck.

Art, Mathematics, Science

“Information practice is concerned with facilitating the interaction between knowledge seekers – through channels – with knowledge (personal and recorded). Stepping back from practice, we may see the role of the science as exploring the characteristics of people and their “information behaviour”, the features of knowledge records of every kind, the variety of channels (oral, written, printed, graphic, digital) that may be used to transmit information, and how the three elements interact.”

Brian Campbell Vickery (1918–2009) British information theorist

Source: Meeting the challenge (2009), p. xxiii.

People, Knowledge, Science, Personality

“A primitive power of artistic sensuousness speaks from the prints, which itself develops directly from the graphic technique that is tied to painstaking effort. Like the 'savage' who with patience cuts the figure.... out of the hard wood, so the artist creates perhaps his purest and strongest pieces.... following the primordial curse, if one may so understand it: from the sweat of thy brow shalt thou eat thy bread.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

de:Louis de Marsalle, Uber Kirchners Graphik, Genius 3, no. 2 (1921):, p. 263; as quoted in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, pp. 52-53
1920's

Understanding, Effort, Patience

“The desire that drives an artist to graphic work is perhaps partly the effort to capture the unique and indefinite nature of a drawing in a fixed and durable form. Another aspect of it is that the technical manipulations exercise energies in the artist that he does not use in the far less strenuous crafts of drawing and painting... the mysterious attraction that surrounded the invention of printing in the Middle Ages is still felt by anyone who takes up graphics seriously and performs every stage in the process wit hits own hands.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

as quoted in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 27
undated

Age, Exercises, Nature, Effort

“I hate the help screen, I hate the options, I hate the card graphics, I hate the default window size, everything. I HATE SOLITAIRE.”

Maddox (1978) American internet writer

I hate Solitaire http://maddox.xmission.com/solitaire.html. The Best Page in the Universe

Hate, Help

“Graphic novelist: Excuse me…you’ve got a copy of the “Protocols of Zion” there! …Why?
Student 2: It reveals the jews’ plan to rule us!
Student 3: Yeah!
Student 4: There’s a jew' in every major government postof the western world, see?
Student 5: Jews are behind all the bad things that are happening today!
Student 2: Yeah, their plan is clearly laid out in the “Protocols,” see?
Graphic novelist: Wait a minute!…what if it has been proven that the book is a fake?
It is the invention of a forger working for the old Russian secret service in 1898 to defame Jews
The protocols never existed never!”

Will Eisner (1917–2005) American cartoonist

Source: The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005), p.123

Secret, Books, World, Waiting