Source: Anam Cara: A Book of Celtic Wisdom
Quotes about neon
A collection of quotes on the topic of neon, light, lighting, likeness.
Quotes about neon
Source: Magic Breaks

Longing for the Harmonies: Themes and Variations from Modern Physics (1987)

"105 Years of Illustrated Text" in the Zoetrope All-Story, Vol. 5 No. 1.
105 Years of Illustrated Text

SANCTUARY (part 1) https://web.archive.org/web/20050521031500/http://ejectejecteject.com/archives/000125.html (18 May 2005)
2000s

Superman Comes to the Supermarket (1960)
“Sacrifice and neon lights slave ships don't wait. Love many, trust few, and don't be late”
One Man Revolution.
Lyrics

In his essay 'The legacy of Jackson Pollock', published in 'ARTnews', Fall of 1958; as quoted by Christina Bryan Rosenberger, in 'Drawing the Line: The Early Work of Agnes Martin', Univ. of California Press, July 2016, p 121
this essay of 1958 became more or less an art-manifesto for the generation American artists after Abstract Expressionism
Source: The Mechanism of Economic Systems (1953), p. 128; As cited in: Prices Revalued as Information: Circuit Elements, online document 2013

On her popularity in Las Vegas, as quoted in "Anne Murray: Facing the Big Time Her Own Way", Section "Her Own Way", by George Anthony, Billboard, Oct 20, 1979

Song lyrics, Lionheart (1978)

Quote from Legér and America, exhibition catalogue Fernand Léger, Buffalo 1982, p. 52
Quotes of Fernand Leger, 1980's
A Morning for Flamingos (1990)
Book A (sketchbook), p 43, c 1963-64: as quoted in Jasper Johns, Writings, sketchbook Notes, Interviews, ed. Kirk Varnedoe, Moma New York, 1996, p. 54
1960s

Bewilderness (DVD, 2001)

“And the people bowed and prayed
To the neon god they made”
The Sound of Silence
Song lyrics, Wednesday Morning, 3 A.M. (1964)
Context: And the people bowed and prayed
To the neon god they made
And the sign flashed out its warning
In the words that it was forming
And the sign said "The words of the prophets
Are written on the subway walls
And tenement halls
And whispered in the sound of silence"

Tinselworm (2008)

Opening Chapter
Naked Lunch (1959)
Context: Shooting PG is a terrible hassle, you have to burn out the alcohol first, then freeze out the camphor and draw this brown liquid off with a dropper—have to shoot it in the vein or you get an abscess, and usually end up with an abscess no matter where you shoot it. Best deal is to drink it with goof balls … So we pour it in a Pernod bottle and start for New Orleans past iridescent lakes and orange gas flares, and swamps and garbage heaps, alligators crawling around in broken bottles and tin cans, neon arabesques of motels, marooned pimps scream obscenities at passing cars from islands of rubbish … New Orleans is a dead museum. We walk around Exchange Place breathing PG and find The Man right away. It’s a small place and the fuzz always knows who is pushing so he figures what the hell does it matter and sells to anybody. We stock up on H and backtrack for Mexico. Back through Lake Charles and the dead slot-machine country, south end of Texas, nigger-killing sheriffs look us over and check the car papers. Something falls off you when you cross the border into Mexico, and suddenly the landscape hits you straight with nothing between you and it, desert and mountains and vultures; little wheeling specks and others so close you can hear wings cut the air (a dry husking sound), and when they spot something they pour out of the blue sky, that shattering bloody blue sky of Mexico, down in a black funnel … Drove all night, came at dawn to a warm misty place, barking dogs and the sound of running water.