Quotes about grid

A collection of quotes on the topic of grid, likeness, power, use.

Quotes about grid

Barack Obama photo
Mohsin Hamid photo

“Conceptually, we would like a `Maxwell's demon' to exist within the power grid capable of capturing the geomagnetic storm energy. This could someday be a new feature of the `smart grid.”

Bush, Stephen F., Smart Grid: Communication-Enabled Intelligence for the Electric Power Grid, ISBN: 978-1-119-97580-9, 576 pages, March 2014, Wiley-IEEE Press.

Piet Mondrian photo

“I am searching for the proper harmony of rhythm and unchanging proportion, as I wrote in the article. And I cannot tell you how difficult it is. [Mondrian is reacting on Van Doesburg criticism of the strong domination of the regular grid in Mondrian's latest paintings]”

Piet Mondrian (1872–1944) Peintre Néerlandais

In Mondrian's letter to Theo van Doesburg, Paris, 16 September 1919; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 171
1910's

Noam Chomsky photo
Václav Havel photo

“Man is in fact nailed down — like Christ on the Cross — to a grid of paradoxes... he balances between the torment of not knowing his mission and the joy of carrying it out, between nothingness and meaningfulness. And like Christ, he is in fact victorious by virtue of his defeats.”

Václav Havel (1936–2011) playwright, essayist, poet, dissident and 1st President of the Czech Republic

As quoted in "Václav Havel: Heir to a Spiritual Legacy" by Richard L. Stanger in Christian Century (11 April 1990)

“The power grid's exposure risk is greater than that of power plants during natural disasters.”

Lee Chih-kung (2017) cited in " Taipower to improve electricity towers http://www.taipeitimes.com/News/biz/archives/2017/08/04/2003675856" on Taipei Times, 4 August 2017

Oliver Sacks photo
Julio Cortázar photo

“"Hair loss and retrieval" (Translation of "Pérdida y recuperación del pelo")


To combat pragmatism and the horrible tendency to achieve useful purposes, my elder cousin proposes the procedure of pulling out a nice hair from the head, knotting it in the middle and droping it gently down the hole in the sink. If the hair gets caught in the grid that usually fills in these holes, it will just take to open the tap a little to lose sight of it.


Without wasting an instant, must start the hair recovery task. The first operation is reduced to dismantling the siphon from the sink to see if the hair has become hooked in any of the rugosities of the drain. If it is not found, it is necessary to expose the section of pipe that goes from the siphon to the main drainage pipe. It is certain that in this part will appear many hairs and we will have to count on the help of the rest of the family to examine them one by one in search of the knot. If it does not appear, the interesting problem of breaking the pipe down to the ground floor will arise, but this means a greater effort, because for eight or ten years we will have to work in a ministry or trading house to collect enough money to buy the four departments located under the one of my elder cousin, all that with the extraordinary disadvantage of what while working during those eight or ten years, the distressing feeling that the hair is no longer in the pipes anymore can not be avoided and that only by a remote chance remains hooked on some rusty spout of the drain.


The day will come when we can break the pipes of all the departments, and for months to come we will live surrounded by basins and other containers full of wet hairs, as well as of assistants and beggars whom we will generously pay to search, assort, and bring us the possible hairs in order to achieve the desired certainty. If the hair does not appear, we will enter in a much more vague and complicated stage, because the next section takes us to the city's main sewers. After buying a special outfit, we will learn to slip through the sewers at late night hours, armed with a powerful flashlight and an oxygen mask, and explore the smaller and larger galleries, assisted if possible by individuals of the underworld, with whom we will have established a relationship and to whom we will have to give much of the money that we earn in a ministry or a trading house.


Very often we will have the impression of having reached the end of the task, because we will find (or they will bring us) similar hairs of the one we seek; but since it is not known of any case where a hair has a knot in the middle without human hand intervention, we will almost always end up with the knot in question being a mere thickening of the caliber of the hair (although we do not know of any similar case) or a deposit of some silicate or any oxide produced by a long stay against a wet surface. It is probable that we will advance in this way through various sections of major and minor pipes, until we reach that place where no one will decide to penetrate: the main drain heading in the direction of the river, the torrential meeting of detritus in which no money, no boat, no bribe will allow us to continue the search.


But before that, and perhaps much earlier, for example a few centimeters from the mouth of the sink, at the height of the apartment on the second floor, or in the first underground pipe, we may happen to find the hair. It is enough to think of the joy that this would cause us, in the astonished calculation of the efforts saved by pure good luck, to choose, to demand practically a similar task, that every conscious teacher should advise to its students from the earliest childhood, instead of drying their souls with the rule of cross-multiplication or the sorrows of Cancha Rayada.”

Julio Cortázar (1914–1984) Argentinian writer

Historias de Cronopios y de Famas (1962)

“When I first made a grid I happened to be thinking of the innocence of trees and then this grid came into my mind and I thought it represented innocence, and I still do, and so I painted it and then I was satisfied. I thought, this is my vision.”

Agnes Martin (1912–2004) American artist

interview by Suzan Campbell, May 15, 1989; transcript in 'Archives of American Art', The Smithsonian Institution, Washington, D.C.
One of her first grid paintings she made in New York in 1964, it was [ https://www.moma.org/collection/works/78361 titled 'The Tree']. Martin often described this painting as her first grid. In fact, she had been making them since at least the beginning of 1960's
1980 - 2000

Richard Leakey photo
Richard Rodríguez photo
Norman Mailer photo
Edmund White photo
Roberto Mangabeira Unger photo
Ellsworth Kelly photo
Joseph Massad photo

“Zionism as a colonial movement is constituted in ideology and practice by a religio-racial epistemology through which it apprehends itself and the world around it. This religioracial grid informs and is informed by its colonial-settler venture. The colonial model remains the best model through which Zionism should be analyzed, but it is important also to analyze the racial dimension of Zionism in its current manifestation, which is often elided.”

Joseph Massad (1963) Associate Professor of Arab Studies

Massad, "The Ends of Zionism: Racism and the Palestinian Struggle", Interventions, 2003, based on an earlier and shorter article entitled "On Zionism and Jewish supremacy", New Politics, 2002.
"The Ends of Zionism: Racism and the Palestinian Struggle"

Joe Biden photo
Gerhard Richter photo
Nicholas Serota photo

“The Grid exists even if you don't see the lines.”

John Twelve Hawks American writer

Fourth Realm Trilogy (2005-2009), The Traveler (2005)

Ossip Zadkine photo
Alastair Reynolds photo
Bartolomé de las Casas photo
Joseph Massad photo
Terence McKenna photo

“What we need to do is transcend these localized grids of fate, which make us what we are but don't want to be.”

Terence McKenna (1946–2000) American ethnobotanist

Psychedelic Society (1984)
Context: !-- ~28m57s -->Because too much we have lived in the light of the idea that your ideology will be dictated to you essentially by geography! And if you're born in India, you'll find out that the Cosmos is one way; if you're born in Brooklyn, you find out it's another way. What we need to do is transcend these localized grids of fate, which make us what we are but don't want to be.

Julio Cortázar photo