Quotes about piece
page 9

Jeremy Corbyn photo
John Maynard Keynes photo
Elton John photo
Marshall McLuhan photo

“Every innovation scraps its immediate predecessor and retrieves still older figures – it causes floods of antiques or nostalgic art forms and stimulates the search for museum pieces.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

1970s, The argument: causality in the electric world (1973)

Bruce Springsteen photo
Amit Chaudhuri photo
Adam Smith photo
Herbert Morrison photo
Tadamichi Kuribayashi photo
Emily St. John Mandel photo
Max Wertheimer photo
RZA photo
Shane Claiborne photo
Thae Yong-ho photo
Henry Temple, 3rd Viscount Palmerston photo

“…he thinks that peace is, of all things, the best, and that war is, of all things, the worst. Now, Sir, I happen to be of opinion that there are things for which peace may be advantageously sacrificed, and that there are calamities which a nation may endure which are far worse than war. This has been the opinion of men in all ages whose conduct has been admired by their contemporaries, and has obtained for them the approbation of posterity. The hon. Member, however, reduces everything to the question of pounds, shillings, and pence, and I verily believe that if this country were threatened with an immediate invasion likely to end in its conquest, the hon. Member would sit down, take a piece of paper, and would put on one side of the account the contributions which his Government would require from him for the defence of the liberty and independence of the country, and he would put on the other the probable contributions which the general of the invading army might levy upon Manchester, and if he found that, on balancing the account, it would be cheaper to be conquered than to be laid under contribution for defence, he would give his vote against going to war for the liberties and independence of the country, rather than bear his share in the expenditure which it would entail.”

Henry Temple, 3rd Viscount Palmerston (1784–1865) British politician

Speech http://hansard.millbanksystems.com/commons/1854/mar/31/war-with-russia-the-queens-message in the House of Commons on the debate on war with Russia (31 March 1854).
1850s

Bill Bryson photo
Gregory Benford photo

“My experience of the original Edison phonograph goes back to the period when it was first introduced into this country. In fact, I have good reason to believe that I was among the very first persons in London to make a vocal record, though I never received a copy of it, and if I did it got lost long ago. It must have been in 1881 or 1882, and the place where the deed was done was on the first floor of a shop in Hatton Garden, where I had been invited to listen to the wonderful new invention. To begin with, I heard pieces both in song and speech produced by the friction of a needle against a revolving cylinder, or spool, fixed in what looked like a musical box. It sounded to my ear like someone singing about half a mile away, or talking at the other end of a big hall; but the effect was rather pleasant, save for a peculiar nasal quality wholly due to the mechanism, though there was little of the scratching which later was a prominent feature of the flat disc. Recording for that primitive machine was a comparatively simple matter. I had to keep my mouth about six inches away from the horn and remember not to make my voice too loud if I wanted anything approximating to a clear reproduction; that was all. When it was played over to me and I heard my own voice for the first time, one or two friends who were present said that it sounded rather like mine; others declared that they would never have recognised it. I daresay both opinions were correct.”

Herman Klein (1856–1934) British musical critic journalist and singing teacher

The Gramophone magazine, December 1933

Rachel Whiteread photo

“I became aware of Louise Bourgeois in my first or second year at Brighton Art College. One of my teachers, Stuart Morgan, curated a small retrospective of her work at the Serpentine, and both he and another teacher, Edward Allington, saw something in her, and me, and thought I should be aware of her. I thought the work was wonderful. It was her very early pieces, The Blind Leading the Blind, the wooden pieces and some of the later bronze works. Biographically, I don't really think she has influenced me, but I think there are similarities in our work. We have both used the home as a kind of kick-off point, as the space that starts the thoughts of a body of work. I eventually got to meet Louise in New York, soon after I made House. She asked to see me because she had seen a picture of House in the New York Times while she was ironing it one morning, so she said. She was wonderful and slightly kind of nutty; very interested and eccentric. She drew the whole time; it was very much a salon with me there as her audience, watching her. I remember her remarking that I was shorter than she was. I don't know if this was true but she was commenting on the physicality of making such big work and us being relatively small women. When you meet her you don't know what's true, because she makes things up. She has spun her web and drawn people in, and eaten a few people along the way.”

Rachel Whiteread (1963) British sculptor

Rachel Whiteread, " Kisses for Spiderwoman http://www.theguardian.com/artanddesign/2007/oct/14/art2," The Guardian, 14 Oct. 2007: on Louise Bourgeois

Sarah Chang photo
Amit Chaudhuri photo
Aldo Leopold photo

“What more delightful avocation than to take a piece of land and, by cautious experimentation, to prove how it works? What more substantial service to conservation than to practice it on one's own land?”

Aldo Leopold (1887–1948) American writer and scientist

"Grand-Opera Game" [1932]; Published in The River of the Mother of God and Other Essays by Aldo Leopold, Susan L. Flader and J. Baird Callicott (eds.) 1991, p. 172.
1930s

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."

Bram van Velde photo

“In the first piece that you Beckett wrote about me [circa 1946], you never once used the word color. That was important. I was struck by it.”

Bram van Velde (1895–1981) Dutch painter

1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

Kate Bush photo
Aldo Leopold photo

“The oldest task in human history: to live on a piece of land without spoiling it.”

Aldo Leopold (1887–1948) American writer and scientist

"Engineering and Conservation" [1938]; Published in The River of the Mother of God and Other Essays by Aldo Leopold, Susan L. Flader and J. Baird Callicott (eds.) 1991, p. 254.
1930s

Jack McDevitt photo
Mahmud of Ghazni photo
William Hazlitt photo
Mark Heard photo
Ted Budd photo

“While I always wait for the final details of any piece of legislation before deciding whether to support it or not, the framework released last week emphasized two main goals that I wholeheartedly support: economic growth and simplicity.”

Ted Budd (1971) American politician

Why we need tax reform http://www.greensboro.com/opinion/columns/u-s-rep-ted-budd-why-we-need-tax-reform/article_7ce96e8e-96d8-5a6d-9f5c-5e9bb26c3a36.html (October 23, 2017)

John Ruskin photo

“We have much studied and much perfected, of late, the great civilized invention of the division of labour; only we give it a false name. It is not, truly speaking, the labour that it divided; but the men: — Divided into mere segments of men — broken into small fragments and crumbs of life; so that all the little piece of intelligence that is left in a man is not enough to make a pin, or a nail, but exhausts itself in making the point of a pin or the head of a nail. Now it is a good and desirable thing, truly, to make many pins in a day; but if we could only see with what crystal sand their points were polished, — sand of human soul, much to be magnified before it can be discerned for what it is — we should think that there might be some loss in it also. And the great cry that rises from our manufacturing cities, louder than their furnace blast, is all in very deed for this, — that we manufacture everything there except men; we blanch cotton, and strengthen steel, and refine sugar, and shape pottery; but to brighten, to strengthen, to refine, or to form a single living spirit, never enters into our estimate of advantages. And all the evil to which that cry is urging our myriads can be met only in one way: not by teaching nor preaching, for to teach them is but to show them their misery, and to preach at them, if we do nothing more than preach, is to mock at it. It can only be met by a right understanding, on the part of all classes, of what kinds of labour are good for men, raising them, and making them happy; by a determined sacrifice of such convenience or beauty, or cheapness as is to be got only by the degradation of the workman; and by equally determined demand for the products and results of healthy and ennobling labour.”

Volume II, chapter VI, section 16.
The Stones of Venice (1853)

“there is a mushroom cloud in the back garden
i did i tried to bring in the cat
but it simply came to pieces in my hand
i did i tried to whitewash the windows
but there weren't any”

Roger McGough (1937) British writer and poet

"Mother the Wardrobe is Full of Infantrymen", from The Mersey Sound (1967)

Edward Everett Hale photo
Mahmoud Ahmadinejad photo
Aneurin Bevan photo
Victor Villaseñor photo
Harold Nicolson photo
Sri Aurobindo photo

“What the Divine wants is for man to embody Him here, in the individual and in the collectivity… to realise God in life. The old system of yoga could not harmonise or unify Spirit and life; it dismissed the world as Maya or a transient play of God. The result has been a diminution of life-power and the decline of India. The Gita says, utsideyur ime loka na kuryam karma cedaham ["These peoples would crumble to pieces if I did not do actions," 3.24]. Truly 'these peoples' of India have gone to ruin. What kind of spiritual perfection is it if a few Sannyasins, Bairagis and Saddhus attain realisation and liberation, if a few Bhaktas dance in a frenzy of love, god-intoxication and Ananda, and an entire race, devoid of life, devoid of intelligence, sinks to the depths of extreme tamas?… But now the time has come to take hold of the substance instead of extending the shadow. We have to awaken the true soul of India and in its image fashion all works…. I believe that the main cause of India's weakness is not subjection, nor poverty, nor a lack of spirituality or Dharma, but a diminution of thought-power, the spread of ignorance in the motherland of Knowledge. Everywhere I see an inability or unwillingness to think… incapacity of thought or 'thought-phobia'…. The mediaeval period was a night, a time of victory for the man of ignorance; the modern world is a time of victory for the man of knowledge. It is the one who can fathom and learn the truth of the world by thinking more, searching more, labouring more, who will gain more Shakti. Look at Europe, and you will see two things: a wide limitless sea of thought and the play of a huge and rapid, yet disciplined force. The whole Shakti of Europe lies there. It is by virtue of this Shakti that she has been able to swallow the world, like our Tapaswins of old, whose might held even the gods of the universe in awe, suspense and subjection. People say that Europe is rushing into the jaws of destruction. I do not think so. All these revolutions, all these upsettings are the initial stages of a new creation….. We, however, are not worshippers of Shakti; we are worshippers of the easy way…. Our civilisation has become ossified, our Dharma a bigotry of externals, our spirituality a faint glimmer of light or a momentary wave of intoxication. So long as this state of things lasts, any permanent resurgence of India is impossible…. We have abandoned the sadhana of Shakti and so the Shakti has abandoned us…. You say what is needed is emotional excitement, to fill the country with enthusiasm. We did all that in the political field during the Swadeshi period; but all we did now lies in the dust…. Therefore I no longer wish to make emotional excitement, feeling and mental enthusiasm the base. I want to make a vast and heroic equality the foundation of my yoga; in all the activities of the being, of the adhar [vessel] based on that equality, I want a complete, firm and unshakable Shakti; over that ocean of Shakti I want the vast radiation of the sun of Knowledge and in that luminous vastness an established ecstasy of infinite love and bliss and oneness. I do not want tens of thousands of disciples; it will be enough if I can get as instruments of God a hundred complete men free from petty egoism. I have no faith in the customary trade of guru. I do not want to be a guru. What I want is that a few, awakened at my touch or at that of another, will manifest from within their sleeping divinity and realise the divine life. It is such men who will raise this country.”

Sri Aurobindo (1872–1950) Indian nationalist, freedom fighter, philosopher, yogi, guru and poet

April, 1920, Letter to Barin Ghose, Sri Aurobindo's brother, Translated from Bengali
India's Rebirth

Cormac McCarthy photo
Ward Cunningham photo
Jacques Ellul photo
Max Ernst photo

“A banal fever hallucination, soon obliterated and forgotten; it didn't reappear in M's memory until about thirty years later (on 10 August 1925), as he sat alone on a rainy day in a little inn by the seaside, staring at the wooden floor which had been scored by years of scrubbing, and noticed that the grain had started moving of its own accord (much like the lines on the [imitation] mahogany board of his childhood). As with the mahogany board back then, and as with visions seen between sleeping and waking, the lines formed shifting, changing images, blurred at first but then increasingly precise. Max {Ernst] decided to pursue the symbolism of this compulsory inspiration and, in order to sharpen his meditative and hallucinatory skills, he took a series of drawings from the floorboards. Letting pieces of paper drop at random on the floor, he rubbed over them with a black pencil. On careful inspection of the impressions made in this way, he was surprised by the sudden increase they produced in his visionary abilities. His curiosity was aroused. He was delighted, and began making the same type of inquiry into all sorts of materials, whatever caught his eye – leaves with their ribs, the frayed edges of sacking, the strokes of a palette knife in a 'modern' painting, thread rolling off a spool, and so forth. To quote 'Beyond Painting' These drawings, the first fruits of the frottage technique, were collected under the title 'Histoire Naturell.”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

Quote in 'Biographical Notes. Tissue of truth, Tissue of Lies', 1929; as cited in Max Ernst. A Retrospective, Munich, Prestel, 1991, pp.283/284
1910 - 1935

Anne Brontë photo
Ken Thompson photo
George W. Bush photo

“I was going to say he's a piece of work, but that might not translate too well. Is that all right, if I call you a 'piece of work?”

George W. Bush (1946) 43rd President of the United States

to Jean-Claude Juncker, the Prime Minister of Luxembourg (June 20, 2005) http://www.europeanvoice.com/article/imported/juncker-is-a-piece-of-work-but-is-that-good-/52663.aspx
2000s, 2005

Alfred P. Sloan photo
Gregory Benford photo

“But the answers come when they will, one piece at a time.”

Gregory Benford (1941) Science fiction author and astrophysicist

Exposures, p. 232 (Originally published in Asimov’s, July 6, 1981)
In Alien Flesh (1986)

Arthur Quiller-Couch photo

“Whenever you feel an impulse to perpetrate a piece of exceptionally fine writing, obey it—whole-heartedly—and delete it before sending your manuscript to press. Murder your darlings.”

Arthur Quiller-Couch (1863–1944) British writer and literary critic

sic
On the Art of Writing: Lectures Delivered in the University of Cambridge, 1913–1914 http://www.bartleby.com/190/
Often misattributed, e.g. to Hemingway, Faulkner, and others, or shortened to 'Kill your darlings.' source http://www.randomhouse.ca/hazlitt/feature/should-you-kill-your-babies

David Graeber photo
Konstantin Chernenko photo
Ralph Vaughan Williams photo

“It never seems to occur to people that a man might just want to write a piece of music.”

Ralph Vaughan Williams (1872–1958) English composer

Quoted in Michael Kennedy The Works of Ralph Vaughan Williams ([1964] 1992) p. 302. He reportedly said this to Roy Douglas regarding whether his Symphony No.6 was meant to be programmatic.

Linus Torvalds photo

“Every time I see some piece of medical research saying that caffeine is good for you, I high-five myself. Because I'm going to live forever.”

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

Linus' blog: "13744 supplied", 2010-08-03, Torvalds, Linus, 2010-08-23 http://torvalds-family.blogspot.com/2010/08/13744-supplied.html,
2010s, 2010

John Bright photo
Noam Chomsky photo
Victor Klemperer photo
Will Eisner photo

“The tenement – the name derives from a fifteenth-century legal term for a multiple dwelling – always seemed to me a “ship afloat in concrete.” After all didn’t the building carry passengers on a voyage through life? No. 55 sat at the corner of Dropsie avenue near the elevated train, or the elevated as we called it in those days. It was a treasure house of stories that illustrated tenement life as I remembered it, stories that needed to be told before they faded from memory. Within its “railroad flats,” with rooms strung together train-like lived low-paid city employees or laborers and their turbulent families. Most were recent immigrants, intent n their own survival. They kept busy raising children and dreaming of the better lie they knew existed “uptown.” Hallways were filled with a rich stew of cooking aromas, sounds of arguments and the tinny wail from Victrolas. What community spirit there was stemmed from the common hostility of tenants to the landlord or his surrogate superintendent. Typically, the buildings tenants came and went with regularity, depending on the vagaries of their fortunes But many remained for a lifetime, imprisoned by poverty or old age. There was no real privacy or anonymity. Everybody knew about everybody. Human dramas, both good and bad, instantly gathered witness like ants swarming around a piece of dropped food. From window to window or on the stoop below, the tenants analyzed, evaluated and critiqued each happening, following an obligatory admission that it was really none of their business.”

Will Eisner (1917–2005) American cartoonist

XV-XVI, December 2004
A Contract With God (2004)

Howard Finster photo

“I TOOK THE PIECES YOU THREW AWAY AND
PUT THEM TOGATHER [sic] BY NIGHT AND DAY
WASHED BY RAIN DRIED BY SUN A MILLION PIECES ALL IN ONE”

Howard Finster (1916–2001) American artist

Text painted on a sign, formerly part of Finster's Paradise Gardens, which clearly references the artist's chosen materials for his work. The piece now resides in the permanent collection of the High Museum in Atlanta.

Patricia Rozema photo

“When I look back upon the choices I made in making Mansfield Park, I feel they were pretty ballsy. I just thought there has to be a reason why I was doing a period piece. I wanted to say, "Look, we are rich because of slavery. We stole people and made them into slaves. Nothing comes for free."”

Patricia Rozema (1958) Canadian film director

I didn't want to do another English dance party.
As quoted in "Patricia Rozema : The Mermaid's Song" interview with Patricia Rozema, in The View from Here : Conversations with Gay and Lesbian Filmmakers (2007) by Matthew Hays, p. 289

Norbert Wiener photo
Michael Savage photo

“I intend to make this day forward the first day of the rest of my life. We can change our lives. You say, 'Well, what's wrong with your life, Michael?' Well, it's not that there's anything wrong with my life, but it's not what I want it to be. I don't feel that I'm inspiring people in the way I want to inspire them. You see, you can inspire through hate; you can inspire through love, hope, humor – the positives. I look at the history of the world, and I look at the world today, and I realize that if we don't inspire each other through positive attributes – love, hope and humor – we're gonna descend into the barbarism of the Left and the barbarism of ISIS. You like me to be hard, you like me to be tough, you like me to give you the breaking news, you like me to be cynical, you like me to analytical, you like me to give you stuff that you don't hear anywhere else – I get that. But there's a limit to that. There's a lot of area beyond all that.I think of Christmas. Christianity is the religion of peace. Christianity is the true religion of peace. 'Turn the other cheek.' 'Do unto others as you would have them do unto you.' These are messages that come from Christianity. What can you do in an age of deceit and lies and terror? You can go to church again. However un-needing you think you really are, you know in your heart that there's something missing in you. You know that you crave something greater. Because the human being is not a dog. We are unique creatures. And we need something different than the bear, the dog, the snake and the eagle. What is that thing that we need? It's that 'thing' called God.The media has promulgated the idea, and promoted the idea, that we only need food and fornication. And so when people are empty that's what they seek. And when they are really empty, what happens? They become drug addicts. They start with marijuana, they end up with heroin, crack, you name it. As God has been driven out of America, drugs have entered America. What does an empty soul look to do? An empty soul looks to fill itself. Just as an empty vessel needs to be filled with a liquid to be complete, an empty human being needs to fill itself to be complete. And how does it fill itself? I know, again, many of you will laugh because you're cynical; it's through those things I'm talking about – inspiration. Do you think a musician can play one day without inspiration from somewhere? The greatest artists in the history of the world were not drug-addicts. They were usually God-addicts. Look at the greatest art in history, you'll find most of them were super religious people, who literally saw God in their living room, and they took the power of God and that was transmitted through the paintbrush, or through that piece of marble. How could a man like Rodin take a piece of inert stone, and inside that stone see the essence of the human form, and sculpt from that block of inert stone, a marble, the portrait of a human being that looks so real – a hundred years later I go and look at them in the museum, and literally inside that carved eye I can see the person; how is that possible? How? It's a different show than I've ever done in my 21 years, because each day to me – I must tell you – I see as my last day, my last day on Earth.”

Michael Savage (1942) U.S. radio talk show host, Commentator, and Author

The Savage Nation (1995- ), 2015

Jonah Goldberg photo
Eugène Delacroix photo
Artur Schnabel photo
Joanna MacGregor photo
Aron Ra photo
James Taylor photo
African Spir photo
Amir Khusrow photo
Anastacia photo
Georges Braque photo
Harun Yahya photo
Thom Yorke photo

“Drying up in conversation,
You will be the one who cannot talk,
All your insides fall to pieces,
You just sit there wishing you could still make love.”

Thom Yorke (1968) English musician, philanthropist and singer-songwriter

High and Dry
Lyrics, The Bends (1995)

Giovannino Guareschi photo
Lawrence Weiner photo

“1. The artist may construct the piece.
2. The piece may be fabricated.
3. The piece need not be built.
Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership.”

Lawrence Weiner (1942) American artist

Lawrence Weiner. "Declaration of Intent" (1968); cited in: Lucy R. Lippard (1973). Six Years: The Dematerialization of the Art Object from 1966 to 1972. p. xvii

Elon Musk photo
Koenraad Elst photo
David Graeber photo
Iain Banks photo
Lawrence M. Schoen photo

““You didn’t do any of these things because they were necessarily good unto themselves, but because you saw them as means to shape events to serve your own ends. The entire legacy of the Matriarch is the exploitation of others like pieces in some great game.”
She laughed in his face. “You can see it that way if you like. The weak usually do, if they see it at all. But you disappoint me. Despite your study of history, you fail to understand power. It’s obvious you never will… There’s really only one choice you ever have to make in any act of creation. Will you be the instrument or the artist? If you’re only now coming to realize that you’ve been a tool all your life, there’s no one to blame for it but yourself. If you don’t like that state of affairs, then act! Impose your will upon the world and walk your own path. If you don’t, you’ll just end up being a token in someone else’s game; you’ll continue to be used as they see fit. That’s how the universe works. You don’t have to like it, but you’d do well to get used to it.”…
“No, maybe that’s the way the world looks once you’ve already decided to take your path. Or maybe it’s just you’re so jaded, or you’ve bought into your own delusions. I don’t know which, and I don’t care. Those aren’t the only choices: use of be used. There is more than being tyrant or servant. I reject both options and I reject you. You’ve been dead for centuries, Margda, it’s about time you accepted that.””

Lawrence M. Schoen (1959) American writer and klingonist

Source: Barsk: The Elephants' Graveyard (2015), Chapter 38, “Loose Ends” (pp. 362-363; ellipses represent elisions of descriptive sections)

Jeffrey Moussaieff Masson photo
Mickey Spillane photo
Max Weber photo
Joseph Strutt photo
Henry Adams photo