Quotes about plastic
page 2

“.. displacement of bodies in [the] atmosphere [where] two persons form but one plastic unity, rhythmically balanced.”

Gino Severini (1883–1966) Italian painter

Quote from Severini's catalog entry for his exhibition at the Marlborough Gallery in London in April 1913, reproduced in Archivi del Futurismo, Volume 1., eds. Maria Drudi Gambillo and Teresa Fiori (Rome: De Luca, 1958-68. 2d 1986), p. 116
Severini explains in short the conception behind his painting 'The Bear Dance at the Moulin Rouge', 1913

Personality

“The Cubists, to be objective, restrict themselves to considering things by turning around them, to produce their geometric writing. So they remain at a stage of intelligence which sees everything and feels nothing, which brings everything to a standstill in order to describe everything. We Futurists are trying, on the contrary, with the power of intuition, to place ourselves at the very center of things, in such a way that our ego forms with their own uniqueness a single complex. We thus give plastic planes a plastic expansion in space, obtaining this feeling of something in perpetual motion which is peculiar to everything living.”

Carlo Carrà (1881–1966) Italian painter

1910's
Source: Piani plastici come espanzione sferica nello spazio Carrà, March 1913, as quoted in Futurism, Didier Ottinger (ed.), 2008, p. 146

Way, Feeling, Intelligence

“We insist that our concept of perspective is the total antitheses of all static perspective. It is dynamic and chaotic in application, producing in the mind of the observer a veritable mass of plastic emotions.”

Carlo Carrà (1881–1966) Italian painter

this quote of Carrá attacks one of the core principles of Cubism
1910's
Source: 'Piani plastici come espanzione sferica nello spazio', Carrà, March 1913

“A rustic setting always suggests fantasy; to suggest science fiction, you need sheet metal and plastic. You need rivets.”

Orson Scott Card (1951) American science fiction novelist

Quoted by Mary Robinette Kowal in " Precogs and Ray Guns Have No Place In True SciFi http://blogs.amctv.com/scifi-scanner/2009/09/science-fantasy.php". <br class="br">Attributed

Science

“Speech has arisen through the need for expression. Certain factors have contributed to making it the paramount utilitarian method of expression. There are ideas and things expressible in words, but there are ideas better expressed in music, the person with no musical ear, or without discipline in the language of music, lacks the key to the door of the world of musical experience. But we live in a world of volume and space; it is hard to conceive of the person who is space-blind or volume-deaf. The great majority of people have the means of approach to plastic beauty as part of their natural equipment. The teacher can develop this natural endowment as Necessity, the greatest teacher, has developed speech.”

Hans Hofmann (1880–1966) American artist

'Painting and Culture' p. 57
Search for the Real and Other Essays (1948)

People, World, Beauty, Music

“A particular thought is not the same as a concentrated, creative thought, which is actually a feeling of inward-looking calm. The former produces a descriptive and morpho-plastic art, the latter a purely plastic manifestation. It is a question of the universal versus the individual. [Mondrian refers to André Gide's 'Dada', in 'Nouvelle Revue Francaise', 1 April 1920]”

Piet Mondrian (1872–1944) Peintre Néerlandais

As quoted by the editors of 'The New Art – The New Life', op. cit. (Intro., note 1), p. 395, note 8
1920's

Art, Feeling, Question, Universe

“The domination of France in the plastic arts has been almost complete for the last thirty years or more in this country [America]. If an apprenticeship to a master has been necessary, I think we have served it. Any further relation of such a character can only mean humiliation to us. After all, we are not French and never can be, and any attempt to be so is to deny our inheritance and to try to impose upon ourselves a character that can be nothing but a veneer upon the surface.”

Edward Hopper (1882–1967) prominent American realist painter and printmaker

1911 - 1940, Notes on Painting - Edward Hopper (1933)

Art, Thinking, Country

“In Heathrow a vast chunk of memory detached itself from a blank bowl of airport sky and fell on him. He vomited into a blue plastic container without breaking stride. When he arrived at the counter at the end of corridor, he changed his ticket.”

William Gibson book Count Zero

Source: Count Zero (1986), Ch. 1, Turner begins to recall his past.

Memory, Change

“I'm all for women who get plastic surgery, because plastic surgery allows you to make your outer appearance resemble your inner appearance — fake… We have shows like Extreme Make-Over: "I don't want to develop a personality, just cut my face! Stretch it and staple it. Now I'm happy, or at least I look like it."”

Daniel Tosh (1975) American stand-up comedian

True Stories I Made Up (2005)

Women, Happiness, Appearance, Personality

“Plastic expression in architecture is inconceivable without colour. Colour and light complete one another. Without colour architecture is expressionless, blind... If the Functionalists wish to suppress colour completely, then this merely proves that they never understood the importance of colour as an ‘architectural’ element, as a means of plastic expression, no matter whether used with iron, glass, or concrete.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote in van Doesburg's his article: 'Space – time and colour', in 'De Stijl', Aubette Issue, series xv, 87-9, 1928, pp. 26–27
1926 – 1931

Light

“Some people might think I could play Russian Roulette safely with a blank bullet. Our armourer took us outside to demonstrate the damage a blank causes at close range. (The demonstration showed the significant damage caused by firing a blank at a plastic bottle)”

Derren Brown (1971) British illusionist

TV Series and Specials (Includes DVDs), Derren Brown Plays Russian Roulette Live (2003)

People, Thinking

“Heathrow the next morning looked like one of those bad science fiction movies "set in the near future" after the security forces have taken over the state. Two armored personnel carriers were parked outside the terminal. A dozen men with Rambo machine guns and bad haircuts patrolled outside. Vast lines of passengers queued to be frisked and X-rayed, carrying their shoes in one hand and their pathetic tolietries in a clear plastic bag in the other. Travel is sold as freedom, but we were free as lab rats. This is how they'll manage the next holocaust, I thought, as I shuffled forward in my stockinged feet: they'll simply issue us with air tickets and we'll do whatever we're told.”

Robert Harris book The Ghost

Source: The Ghost (2007), Ch. 3.

Men, Shoe, Travel, Freedom

“The spiraling shapes, and the beautiful contrasts of yellow and blue, that are intuitively felt one evening while living the movements of a girl dancing may be found again later, through a process of plastic preferences or aversions, or through combination of both, in the concentric circling of an aeroplane or in the onrush of an express train”

Gino Severini (1883–1966) Italian painter

In his manifesto 'The Plastic Analogies of Dynamism', c. 1914; as quoted in Inventing Futurism: The Art and Politics of Artificial Optimism, by Christine Poggi, Princeton University Press, 2009, p. 218

Beauty, Girl, Dance, Training

“And then, as you can see, I give greater and greater importance to the materials I use in my work [c. 1936]. A rich and vigorous material seems necessary to me in order to give the viewer that smack in the face that must happen before reflection intervenes. In this way, poetry is expressed through a plastic medium, and it speaks its own language.”

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

1915 - 1940
Source: 'Où allez-vous Miro?', Georges Duthuit in Cahiers d'Art 11, nos. 8-10, 1936

Way

“Not long after Miles and Eric hitch to St. Louis, Graham turns to me and says, "Let's hitch to Chicago!" "Right now?" I ask, peering up from my American government text. "Why not?" says Graham. "You've got to learn to do things when you want to; otherwise you'll be just like one of the plastic people, the dead people."”

Mark Satin (1946) American political theorist, author, and newsletter publisher

So by one A.M. we are on the road. ...
Page 40. It's the fall of 1964. Satin is a freshman at the University of Illinois at Urbana–Champaign. "Plastic" became one of his favorite adjectives.
Confessions of a Young Exile (1976)

People, Learning, Dead

“Those who present directly and immediately the new forms and symbols are the artists — the dramatists, the musicians, the painters, the dancers, the poets, and those poets of the religious sphere we call saints. They portray the new symbols in the form of images — poetic, aural, plastic, or dramatic, as the case may be. They live out their imaginations.”

Rollo May (1909–1994) US psychiatrist

Source: The Courage to Create (1975), Ch. 1 : The Courage to Create, p. 22

Imagination

“What we should desire creeps silently inside us and replaces what we really desire. … We take jobs, make compromises, and settle down for the long wait, for the arrival of the future that will bring the reward of happiness we so justly deserve for our sacrifice of the pleasures of the moment. The process is so slow we scarcely notice the substitution of plastic for flesh. We forget how the body sang when it ran free; how it rejoiced in stretching, rolling, skipping, dancing, walking, eating, loving, bounding, leaping, resting.
Gradually the body beings to change to protect itself against the intrusion of joy or sorrow. It armors itself against the threat of playfulness and spontaneity. … The working body is complete when it is thus armed against those emotions that would threaten the primacy of the work ethic and the pattern of delayed gratification upon which it rests.”

Sam Keen (1931) author, professor, and philosopher

Source: The Passionate Life (1983), pp. 102-103

Love, Happiness, Pleasure, Change

“It wasn't until in the last year and a half that I started making fun of myself and the fact that I have big boobs. I never really was comfortable with my large breasts. And I went to the plastic surgeon, and almost got a breast reduction. I didn't do it, thankfully.”

Diora Baird (1983) American actress and model

["Five words that must never be uttered ever again", July 2005, ThisIsWhatWeDoNow.com, http://www.thisiswhatwedonow.com/2005/07/five-words-that-must-never-be-uttered.html]

“It is the greatest injustice done to Mondrian that people who are plastically blind see only decorative design instead of the plastic perfection which characterizes his work. The whole De Stijl group from which Mondrian's art was derived must be considered a protest against such blindness.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 47
Search for the Real and Other Essays (1948)

People, Art, Perfection

“Another important point which you so very accurately sensed concerns the idea that the glass in actual fact is not meant to be looked at (with 'aesthetic' eyes). It should be accompanied by a 'literary' text, as amorphous as possible, which never took shape. And the two elements, glass for the eyes, text for the ears and understanding, should complement each other and above all prevent one or the other from taking on an aesthetic-plastic or literary form. All in all, I am hugely indebted to you for having stripped bare my Bride stripped bare”

Marcel Duchamp (1887–1968) French painter and sculptor

the complete title is: The Bride Stripped Bare by her Bachelors, Even (The Large Glass), c. 1915 – 1923
Quote from a letter to fr:Jean Suquet (art historian), New York 25 December 1949; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 163
1921 - 1950

Idea, Understanding, Sense

“.. a demand which will never be fulfilled as long as artists use individualistic means. 'Unity can only result from disciplining the means, for it is this discipline which produces more generalized means'. The objectification of the means will lead towards elementary, monumental plastic expression. It would be ridiculous to maintain that none of this relates to creative activity. If that were true, art would not be subject to logical discipline.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from Van Doesburg's text 'Towards elementary plastic expression', as cited in Material zur elementaren Gestaltung, G-1, July 1923; as quoted in 'Theo van Doesburg', Joost Baljeu, Studio Vista, London 1974, p. 141
1920 – 1926

Art

“Before us, art relied on memory, an anxious re-evocation of an Object lost (happiness, love, a landscape), and hence was nostalgic, static, charged with suffering and distance. With Futurism, instead, art is turning into art-action, which is to say, into will, optimism, aggression, possession, penetration, delight, brutal reality within art (example: onomatopoiea; —example: noise-tuners = motors), geometrical splendor of forces, projections forward. Thus, art is becoming Presence, new Object, new reality created with the abstract elements of the universe. The hands of the passéist artist used to suffer for the sake of the lost Object; our hand will twitch for the new Object to be created. That is why the new Object (the plastic complex) has miraculously appeared in your hands.”

Filippo Tommaso Marinetti (1876–1944) Italian poet and editor, founder of the Futurist movement

Quote in: Fortunato Depero & Giacomo Balla 'The Futurist Reconstruction of the Universe' in: Direzione del Movimento Futurista, March 11, 1915. Transl. Caroline Tisdall, 1973.
1910's

Love, Happiness, Art, Optimism

“The plastic expression of space is inconceivable without light. Light and space complete one another. In architecture light represents an element of plastic expression – in fact, the most important one. An organic relationship between 'space' and 'material' is possible only with the aid of light. The highest achievements in architecture can be accomplished only if light also is treated as plastic form.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote in van Doesburg's article: 'Space – time and colour' in 'De Stijl', Aubette Issue, series xv, 87-9, 1928, pp. 26–27
1926 – 1931

Light

“I have a definite feeling for the West, the vast horizontality of the land, for instance... I have always been very impressed with the plastic qualities of American Indian art. The Indians have the true painter's approach in their capacity to get hold of appropriate images, and in their understanding of what constitutes painterly subject-matter. Their colour is essentially Western, their vision has the basic universality of all real art. Some people find references to American Indian art and calligraphy in parts of my pictures. That wasn't intentional; probably [it] was the result of early memories and enthusiasm.”

Jackson Pollock (1912–1956) American artist

Quote of Pollock, from Twentieth-century American painting, Gail Levin, The Thyssen-Bornemisza collection. London, 1987, p. 267
1940's, Art and Architecture (1944)

People, Art, Feeling, Understanding

“The movie stars six teenage characters who have been marketed on TV and in toy stores. They have names, but no discernible personalities. None of them ever says anything more interesting than "You guys!" As teenagers, they are skilled in-line skaters and karate fighters, but they don't get their real powers until they turn into faceless clones in Power Rangers uniforms with plastic masks and helmets. Is that the message? Faceless conformity is the way to success? Certainly the Rangers are not individuals in or out of uniform, but I wonder if they don't represent a triumph of merchandising over creativity. Children's heroes have traditionally been individualistic and eccentric. The Rangers are not, properly speaking, even characters. They are color-coded products… Paging through the movie's press kit, I came across this quote attributed to Amy Jo Johnson, who plays Kimberly, the Pink Power Ranger: " `Mighty Morphin Power Rangers™: The Movie' is a mix between Star Wars and The Wizard of Oz. " I wonder if Amy Jo actually said "TM" when she was delivering that wonderfully fresh and spontaneous quote, which is so much more involved than anything she says in the movie. More to the point, I wonder if she has ever seen "Star Wars" or "The Wizard of Oz."”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/mighty-morphin-power-rangers-the-movie-1995 of Mighty Morphin' Power Rangers: The Movie (30 June 1995) <br class="br">Reviews, Half-star reviews

War, Children, Color, Way

“These universal means of expression were discovered in modern painting by a logical and gradual progress toward ever more abstract form and color. Once the solution was discovered, there followed the exact representation of relations alone, that is to say, of the essential and fundamental element in any plastic emotion of the beautiful.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

Beauty, Color, Universe, Painting

“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

“If a firearm is used by a criminal or psychopath with evil intentions, then it is a tool for evil. But if it is used for good (to defend life and property), then it is a tool for good. A firearm by itself has no sentience, no volition, no moral force, and no politics. The proper term for this is an adiaphorous object--something that is neither good nor evil. A firearm is simply a cleverly-designed construction of metal, wood, and plastic in the form of a precision tool.”

James Wesley Rawles (1960) Survivalist-fiction author and blogger

Source: Tools For Survival (2009), p. 150

Life, Evil

“Most motor-cars are conglomerations (this is a long word for bundles) of steel and wire and rubber and plastic, and electricity and oil and petrol and water, and the toffee papers you pushed down the crack in the back seat last Sunday. Smoke comes out of the back of them and horn-squawks out of the front, and they have white lights like big eyes in front, and red lights behind. And that is about that — just motor-cars, tin boxes on wheels for running about in.
But some motorcars — mine, for instance, and perhaps yours — are different. If you get to like them and understand them, if you are kind to them and don't scratch their paint and bang their doors, if you fill them up and pump them up when they need it, of you keep them clean and polish and out the rain and snow as much as possible, you will find, you MAY find, that they become almost like persons — MORE than just ordinary persons — MAGICAL PERSONS!!!”

Ian Fleming book Chitty-Chitty-Bang-Bang

Source: Chitty-Chitty-Bang-Bang (1964), Ch. 1

Cars, Understanding, Light, Water

“Many people think there are no transitional species because the only fossil forms they’re aware of at all are a handful of plastic pieces in a prehistoric play set. They’ve no idea how rich the fossil record is! We know of several hundred species just within dinosaurs, to say nothing of the thousands of examples of each of hundreds more taxa apart from that. Experts estimate that all the collective genera still roaming around now only amount to about 1% of all the species that have ever lived. Practically everything there ever was ain’t no more. Every species living today has definite relatives both extant and extinct, and evident in the fossil record. And in one sense, all of them, even the things still alive, count as transitional species.”

Aron Ra (1962) Aron Ra is an atheist activist and the host of the Ra-Men Podcast

"9th Foundational Falsehood of Creationism" https://www.youtube.com/watch?v=Qfoje7jVJpU, Youtube (May 8, 2008) <br class="br">Youtube, Foundational Falsehoods of Creationism

People, Idea, Thinking, Sense

“Real. Real like a plastic bouquetThat thrives on the smoke from an old fireplaceAnd dies every night with her face on the news.Nobody cries, they just smoke and stare and their shoes.The only difference is,The only difference is,Nobody can cry -It's hard to doFor most folks, without a reason why.”

Ryan Adams (1974) American alt-country/rock singer-songwriter

Cry on Demand
29 (2005)

Cry, Night

“The cloning of humans is on most of the lists of things to worry about from Science, along with behavior control, genetic engineering, transplanted heads, computer poetry and the unrestrained growth of plastic flowers.”

Lewis Thomas (1913–1993) American physician, poet and educator

"On Cloning a Human Being", p. 52
The Medusa and the Snail: More Notes of a Biology Watcher (1979)

Behavior, Flowers, Science

“I mean, the official definition of Surrealism is to make a work automatically without a priori aesthetic or moral conditions, which is exactly what we do [artist in New York School / Abstract Expressionism]. At the same time Surrealism was an assault, - with a few exceptions: Giacometti, Arp and Miro - on the 'purity' of painting. I mean mean, on making painting - means themselves speak, without reliance on literature; and that second insistence of Surrealism, Americans really rejected. So that historically.... Abstract Expressionism is in part, I think, a fusion of certain Surrealist means, above all plastic 'automatism' with the Cubist's insistence that the picture speaks as a picture in strictly pictorial language.”

Robert Motherwell (1915–1991) American artist

first published in 'Metro', 1962; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 82
1960s, Interview with David Sylvester', (1960)

School, Literature, Thinking, Time

“The more successfully we learn and practice the gospel of plasticity, the less suitable we become as subjects of the necessitarian styles of social and historical analysis that the great social theorists have taught us. We can, in fact, raise a storm in the world and still understand and explain ourselves. All we need is a better approach.”

Roberto Mangabeira Unger (1947) Brazilian philosopher and politician

Source: Plasticity Into Power: Comparative-Historical Studies on the Institutional Conditions of Economic and Military Success (1987), p. 2

World, Understanding, Learning

“His strongest tastes were negative. He abhorred plastics, Picasso, sunbathing and jazz — everything in fact that had happened in his own lifetime.”

Evelyn Waugh book The Ordeal of Gilbert Pinfold

Source: The Ordeal of Gilbert Pinfold (1957), Chapter 1

“Coherence and harmony in relations and interactions between the members of a human social system are due to the coherence and harmony of their growth in it, in an ongoing social learning which their own social ( linguistic) operation defines and which is possible thanks to the genetic and ontogenetic processes that permit structural plasticity of the members.”

Humberto Maturana (1928) Chilean biologist and philosopher

Source: The tree of Knowledge (1987), p. 199 as cited in: Vincent Kenny (1989) " Life, the Multiverse and Everything; an Introduction to the Ideas of. Humberto Maturana http://www.oikos.org/vinclife.htm".

Learning

“.. it [painting art] has never been so truly realistic, so firmly attached to its own period as it is today. A kind of painting that is realistic in the highest sense is beginning to appear, and it is here today... The advertising billboard, dictated by modern commercial needs, that brutally cuts across a landscape.... this yellow or red poster shouting in a timid landscape, is the best of possible reasons for the new painting; it topples the whole sentimental literary concept and announces the advent of plastic contrast.”

Fernand Léger (1881–1955) French painter

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 12
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

Art, Sense, Appearance, Painting

“Sea turtles of all kinds are peculiarly prone to eat plastic scraps and other buoyant debris and to tangle themselved in lines and netting discarded by fishermen, and records of such mishaps have increased markedly in recent years.”

Archie Carr (1909–1987) American university professor, zoologist, herpetologist, conservationist

[Impact of nondegradable marine debris on the ecology and survival outlook of sea turtles, Marine Pollution Bulletin, 18, 6, June 1987, 352–356, https://www.sciencedirect.com/science/article/pii/S0025326X87800255] (quote from p. 352)

Sea

“For the longest time, I didn't know the name of anyone in Led Zeppelin. I didn't care about what they looked like or ate. I wanted to listen, not read about them. I've always had that philosophy. I never started playing drums to get chicks or money or anything else. Long before I had concepts of those things, I wanted to be a drummer. That's the basic concept of what I do. I'm a drummer. I play drums. We are artists as drummers, and people should realize that. Not everyone can sit down and use all four of your limbs simultaneously to create something out of wood and plastic. We're creating something beautiful, and it may not sound pretty, but if you listen with the right ear, it sounds very pretty. If you try and listen to a song without drums, you haven't got anything.”

John Dolmayan (1973) Lebanese-born Armenian–American songwriter and drummer

[Artist Features: Steal This Article: John Dolmayan, Weiss, David, May 2003, http://drummagazine.com/html/modules.php?op=modload&name=News&file=article&sid=241, 2007-01-08]

Money, People, Beauty, Time

“The UFO research and investigation business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps of corrupt ideology run free, agenda dictates, delusion is rampant and ignorance prevails. The infestation of wrongful motivation and the beggarly depths of belief reign supreme amidst a universal disregard for truth and factual actuality… where good men die like dogs. There's also a negative side...”

Kenny Young (1950) American songwriter

E-mail from Young to fellow Ufologists Sean Feeney and Paul Koch on December 26, 2001. [citation needed]

Men, Money, Truth, Dogs

“Well, dust off your thinking caps
Solar powered plastic plants
Pretty pictures of things we ate
We are only what we hate
But in the long run we have found
Silent films are full of sound
Inaudibly free
Slow down everyone
You're moving too fast
Frames can't catch you when
You're moving like that”

Jack Johnson (musician) (1975) American musician

Inaudible Melodies.
Song lyrics, Brushfire Fairytales (2001)

Hate, Thinking

“It creeped him out, the way it just sat there looking so plastic and harmless among the old-time good intentions of all that downtown architecture, no more sinister than a chain motel by the freeway, and yet behind its neutral drapes and far away down its fluorescent corridors it was swarming with all this strange alternate cop history and cop politics—cop dynasties, cop heroes and evildoers, saintly cops and psycho cops, cops too stupid to live and cops too smart for their own good—insulated by secret loyalties and codes of silence from the world they'd all be given to control, or, as they liked to put it, protect and serve.”

Thomas Pynchon book Inherent Vice

Source: Inherent Vice (2009), p. 137

Secret, Stupidity, World, Way

“Let's define "terrorist organization." A terrorist organization is an organization that makes you feel scared all the time and makes you change your behavior. What does CNN, Fox News, and MSNBC do all the time? That's right. Wolf Blitzer? Terrorist. Glenn Beck? Terrorist. Nancy Grace? Terrorist. AND her plastic surgeon. The only news organization that is not a terrorist organization is the BBC. Because the BBC can make the worst things sound okay. [British accent] Hello, welcome to the BBC. Satan has re-entered the planet. He is picking up babies with his talons, ripping off their heads, and sucking out their souls. We're in for a thousand years of darkness, all hope is lost and now, the World Cup update.”

Christopher Titus (1964) actor, writer, podcaster

Neverlution (2011)

World, Hope, Behavior, Feeling

“Art will not only continue but will realise itself more and more. By the unification of architecture, sculpture and painting a new plastic reality will be created.”

Piet Mondrian (1872–1944) Peintre Néerlandais

quote, 1937; last lines of Mondrian's publication in 'Circle'; as cited in Abstract Art, Anna Moszynska; Thames and Hudson, London 1990, p. 117
1930's

Art, Reality, Painting

“We [Futurists, Balla and Depero ], seek to realize this total fusion in order to reconstruct the universe by making it more joyful, in other words by an integral re-creation. We will give skeleton and flesh to the invisible, the impalpable, the imponderable and the imperceptible. We will find abstract equivalents for all the forms and elements of the universe, and then well will combine them according to the caprice of our inspiration, to shape plastic complexes which we will set in motion.”

Giacomo Balla (1871–1958) Italian artist

The Futurist Reconstruction of the Universe (1915)

Universe

“That life had been one without excitement, with no adventure. It had been too safe. All the elements that made it up were right there before his eyes, and nothing new could ever be expected. It was like, he had once thought, a little plastic boat that would sail on forever, without incident, until it finally sank, which would be a secret relief to all.”

Philip K. Dick book A Scanner Darkly

Source: A Scanner Darkly (1977), Chapter 4 (p. 64)

Life, Secret

“The new architecture considers not only space, but also time to be an architectural value. The unity of space and time will give architecture a new form of appearance, which is more complete. This is what is meant by 'active space'.... the dissimilar space-cells develop eccentrically from the center to the borders of the cube, thereby granting a new plastic quality to the dimensions of height, width, depth, and time.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from his unpublished writing, 'Fundamental principles', 1930; as cited in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 203
1926 – 1931

Appearance, Time

“That reminded John Paul of what Andrew had said when he was teaching him to play chess. “You have to think ahead, the next move, the next move, the next move, to see where it’s all going to lead.” John Paul understood the principle as soon as Andrew explained it. But he stopped playing chess anyway, because he didn’t care what happened to little plastic figures on a board of sixty-four squares.”

Orson Scott Card Ender's Game hexalogy

Page 53
Ender's Game series, First Meetings in the Enderverse (2003), The Polish Boy

Thinking

“Twenty-one years old! I never doubted my vital force. But how is it to fare with my chosen art? The recognition that at bottom I am a poet, after all, should be no hindrance in the plastic arts! And should I really have to be a poet, Lord knows what else I should desire. Certainly, a sea swells within me, for I feel. It is a hopeless state, to feel in such a way that the storm rages on all sides at once and that nowhere is a lord who commands the chaos.”

Paul Klee (1879–1940) German Swiss painter

Quote (1900), # 121, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1895 - 1902

Art, Way, Feeling, Rage

“Its decadence, satiety, and languor [of Roman civilization] interested me. And I kept looking and returning to their wall paintings with their veiled melancholy and their elegant plasticity. I admired the way they used their geology in their art — the sense of mineral, clay. rock, marble, and stone.”

William Baziotes (1912–1963) American painter

from his letter to Alfred H. Barr, Jr. 6 November, 1955; as cited in the text of 'The Baziotes Memorial Exhibition' and its accompanying catalogue by Lawrence Alloway; Solomon R. Guggenheim Museum 1965, p. 11
1950s

Art, Way, Sense, Painting

“Scientology is now run by David Miscavige, 31, a high school dropout and second-generation church member. Defectors describe him as cunning, ruthless and so paranoid about perceived enemies that he kept plastic wrap over his glass of water.”

David Miscavige (1960) leader of the Church of Scientology

[Richard, Behar, Richard Behar, http://www.time.com/time/magazine/article/0,9171,972865,00.html, The Thriving Cult of Greed and Power, Time, May 6, 1991, 2010-07-03].
About

School, Water

“She looks like the real thing,
She tastes like the real thing,
My fake plastic love.
But I can't help the feeling,
I could blow through the ceiling
If I just turned and ran.”

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

Fake Plastic Trees
Lyrics, The Bends (1995)

Love, Feeling, Help

“It took me a long time to discover that particularities of form and natural colour evoke subjective states of feeling which obscure pure reality. The appearance of natural forms changes, but reality remains. To create pure reality plasticity, it is necessary to reduce natural forms to constant elements of form, and natural colour to primary colour. The aim is not to create other particular forms and colours, with all their limitations, but to work toward abolishing them in the interest of a larger unity.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Source: Later Quote of Mondrian, about 1910-1914; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 42

Feeling, Nature, Reality, Appearance

“What is imagination? Psychologists tell us that it is the plastic or creative power of the soul; but materialists confound it with fancy. The radical difference between the two, was however, so thoroughly indicated by Wordsworth, in the preface to his Lyrical Ballads, that it is no longer excusable to interchange the words. Imagination, Pythagoras maintained to be the remembrance of precedent spiritual, mental, and physical states, while fancy is the disorderly production of the material brain.”

Helena Petrovna Blavatsky book Isis Unveiled

Source: Isis Unveiled (1877), Volume I, Chapter XI

Soul, Imagination

“Here's what's not beautiful about it: from here, you can't see the rust or the cracked paint or whatever, but you can tell what the place really is. You see how fake it all is. It's not even hard enough to be made out of plastic. It's a paper town. I mean look at it, Q: look at all those cul-de-sacs, those streets that turn in on themselves, all the houses that were built to fall apart. All those paper people living in their paper houses, burning the future to stay warm. All the paper kids drinking beer some bum bought for them at the paper convenience store. Everyone demented with the mania of owning things. All the things paper-thin and paper-frail. And all the people, too. I've lived here for eighteen years and I have never once in my life come across anyone who cares about anything that matters.”

John Green book Paper Towns

Margo Roth Spiegelman, pp. 57-58
Paper Towns (2008)

Life, People, Beauty, Drink

“I got my wife breast implants for her birthday. I've never been a big fan of plastic surgery, but I gotta admit, I've had a lot of fun playing with these things. I haven't given them to her yet…[Audience cheers] I just keep 'em on my tour bus and just rub 'em in my face…I'm glad they clean up easy. [Audience groans] WHAT?! I'm just glad they are not made out of corduroy, that's all I'm saying! I'd have to have 'em Scotchgarded. [imitates spraying Scotchgard on implants] I find it a little ironic that the product that I use to keep from ruining my sofa should spill my drink on it is actually called…Scotch-guard. [Audience cheers] Sometimes, things just work out perfect, don't they? "Yeah, I'm looking for a product that'll protect my sofa should I spill my Scotch on it. What'd ya have?" [imitates clerk turning to look at stock] "We've got Scotch-guard." "Yeah, let's go with that. Do you have Vodka-guard? How about Sperm-guard?"”

Ron White (1956) American comedian

It's a busy couch.
Behavioral Problems

Birthday, Drink, Business, Perfection

“There is something that happens to the mind in moments of terror. Perhaps we figure it's the last we'll ever have and we record it for the rest of our long journey. We take perfect snapshots, an album to despair over. We trim the edges and place them in plastic. We tuck the scrapbook away to take out in our ruined times.”

Colum McCann book Let the Great World Spin

Let the Great World Spin (2009), Book One: A Fear of Love

Time, Perfection, Despair

“He now set down all the communications apparatus, rose stiffly from the chair and momentarily stood facing the misty, immobile, icebound shape of Joe Chip resting within its transparent plastic casket. Upright and silent, as it would be for the rest of eternity.”

Philip K. Dick book Ubik

Source: Ubik (1969), Chapter 14 (p. 189)

Communication

“.. giving plastic reality to inner states of the mind.”

Francis Picabia (1879–1953) French painter and writer

1910's

Reality

“[paintings as] the plastic equivalent of the sounds, noises and smells found in theaters, music-halls, cinemas, brothels, railways station, ports.”

Carlo Carrà (1881–1966) Italian painter

1910's
Source: 'Piani plastici come espanzione sferica nello spazio', Carrà, March 1913

Music, Painting

“Even this far from shore, the night stank. The sea moved lazily, its embryo waves aborted before cresting by the layer of oily residues surrounding the hull, impermeable as sheet plastic: a mixture of detergents, sewage, industrial chemicals and the microscopic cellulose fibers due to toilet paper and newsprint. There was no sound of fish breaking surface. There were no fish.”

John Brunner book The Sheep Look Up

March “RIPOSTE”
The Sheep Look Up (1972)

Fish, Sea, Night

“We speak of concrete and not 'abstract painting', because we have finished with the period of research and speculative experience. In their search for purity artists were obliged to abstract from 'natural forms' in which the plastic elements were hidden, in order to eliminate natural forms and to replace them with 'artistic forms'. To-day the idea of 'artistic form' is as obsolete as the idea of 'natural form'. We establish the period of pure painting by constructing 'spiritual form.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Creative spirit becomes concrete.
Quote on 'Concrete art', in: 'Comments on the basic of concrete painting', Paris, January 1930; 'Art Concret', April 1930, pp. 2–4
1926 – 1931

Search, Idea, Nature, Painting

“No, the artists are in a state of belated Age of Reason. They want to get hold of things, like Mondrian. He was a fantastic artist, but now when we read his ideas and his idea of Neo-Plasticism [= De Stijl ] – pure plasticity – it’s kind of silly, I think. I mean, not for him, but I think one could spend one's life having this desire to be in and outside at the same time. He could see a future life and a future city – not like me, who am absolutely not interested in seeing the future city. I'm perfectly happy to be alive now.”

Willem de Kooning (1904–1997) Dutch painter

Quote of De Kooning from an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Location', Spring 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 49
1960's

Life, Happiness, Age, Idea

“Her green plastic watering can
For a fake Chinese rubber plant
In the fake plastic earth.”

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

Fake Plastic Trees
Lyrics, The Bends (1995)

Water

“Further developing his first synthesis of a speeding automobile, Balla has arrived at the first plastic complex. This has revealed to us an abstract landscape of cones, pyramids, polyhedrons, spirals of mountains, rivers, lights, shadows. In short, there is a deep analogy between the essential force-lines of speed and the essential force-lines of a landscape.”

Giacomo Balla (1871–1958) Italian artist

The Futurist Reconstruction of the Universe (1915)

Mountain, Light, Speed

“New York is one of the capitals of the world and Los Angeles is a constellation of plastic, San Francisco is a lady, Boston has become Urban Renewal, Philadelphia and Baltimore and Washington wink like dull diamonds in the smog of Eastern Megalopolis, and New Orleans is unremarkable past the French Quarter. Detroit is a one-trade town, Pittsburgh has lost its golden triangle, St Louis has become the golden arch of the corporation, and nights in Kansas City close early. The oil depletion allowance makes Houston and Dallas naught but checkerboards for this sort of game. But Chicago is a great American city. Perhaps it is the last of the great American cities.”

Norman Mailer book Miami and the Siege of Chicago

Pt. 2, p. 83
Miami and the Siege of Chicago (1968)

World, Angels, Game, Past

“The rectangular plane of varying dimensions and colours visibly demonstrates that internationalism does not mean chaos ruled by monotony but an ordered and clearly divided unity. In Neo-Plasticism, there are, in fact, very definite boundaries. But these boundaries are not really closed; the straight lines in rectangular opposition to one another constantly intersect, so that their rhythm continues throughout the whole work... These frontiers will be clearly defined but not 'closed'; there will be no customs, no work permits. 'Foreigners' will not be viewed as aliens.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote in 'The New Art – The New Life', Piet Mondrian, op. cit. Introd. Note 1., 1931
1930's

“A line cannot control pictorial space absolutely. A line may flow freely in and out space, but cannot independently create the phenomenon of push and pull necessary to plastic creation. Push and pull are expanding and contracting forces which are activated by carriers in visual motion. Planes are the most important carriers, lines and points less so... the picture plane reacts automatically in the opposite direction to the stimulus received; thus action continues as long as it receives stimulus in the creative process. Push answers with pull and pull with push. … At the end of his life and the height of his capacity Cézanne understood color as a force of push and pull. In his pictures he created an enormous sense of volume, breathing, pulsating, expanding, contracting through his use of colors.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 44
Search for the Real and Other Essays (1948)

Life, Color, Sense

“"It might interest you to know that our state is tired of being used as a chemical toilet so that people in Utah can have plastic lawn furniture."
"I can't believe an assistant attorney general came right out and said that."
"Well, I wouldn't say it in public."”

Neal Stephenson book Zodiac

"Cohen," the assistant attorney general of an unnamed East Coast state meeting covertly with Sangamon Taylor near the Jersey Shore. Chapter 11
Zodiac (1988)

People

“It’s funny how one summer can change everything. It must be something about the heat and the smell of chlorine, fresh-cut grass and honeysuckle, asphalt sizzling after late-day thunderstorms, the steam rising while everything drips around it. Something about long, lazy days and whirring air conditioners and bright plastic flip-flops from the drugstore thwacking down the street. Something about fall being so close, another year, another Christmas, another beginning. So much in one summer, stirring up like the storms that crest at the end of each day, blowing out all the heat and dirt to leave everything gasping and cool. Everyone can reach back to one summer and lay a finger to it, finding the exact point when everything changed. That summer was mine.”

Sarah Dessen book That Summer

That Summer (1996)

Grass, Change, Christmas, Summer

“A fixed point of view becomes possible with print and ends the image as a plastic organism.”

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

Source: 1960s, The Gutenberg Galaxy (1962), p. 144

“The rectangular picture-plane indicates the starting point of Suprematism; a new realism of color conceived as non-objective creation. The forms of Suprematist art live like all the living forms of nature. This is a new plastic realism, plastic precisely because the realism of hills, sky and water is missing. Every real form is a world. And any plastic surface is more alive than a (drawn or painted) face from which stares a pair of eyes and a smile. [1914]”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote of Malevich, cited in Artists on Art; from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 452
1910 - 1920

World, Smile, Art, Color

“Well, I looked at Picasso [at the Picasso exhibition, Museum of Modern Art, in 1939] until I could smell his armpits and the cigarette smoke on his breast. Finally, in front of one picture – a bone figure on a beach – I got it. I saw that the figure was not his real subject. The plasticity wasn't either – although the plasticity was great. No. Picasso had uncovered a feverishness in himself and is painting it – a feverishness of death and beauty.”

William Baziotes (1912–1963) American painter

Modern Art U.S.A., R. Blesh, New York, Alfred A. Knopf, 1956, pp. 268-69
1950s

Death, Beauty, Art, Painting

“They [Mondrian's friends in Paris, Tonia and Wim Stieltjes] are receptive to the new, although they do not know what it is. Thus I do occasionally feel that my effort has not been in vain. They find the idea of the N. B. [= Dutch: nl:Nieuwe Beelding / Neo Plasticism] sound and quite magnificent, but think that it will be quite a long time before people are ready for it.”

Piet Mondrian (1872–1944) Peintre Néerlandais

In a letter to Theo van Doesburg, Paris 1920; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 17
1920's

People, Feeling, Idea, Thinking

“Society… directly penetrates the organism in its functioning, most importantly in respect to sexuality and nutrition. While both sexuality and nutrition are grounded in biological drives, these drives are extremely plastic in the human animal. Man is driven by his biological constitution to seek sexual release and nourishment. But his biological constitution does not tell him where he should seek sexual release and what he should eat.”

Peter L. Berger book The Social Construction of Reality

(1991, p. 202)
The Social Construction of Reality, 1966

Animals

“And now about architects in general – I have to say it, Does [= Theo van Doesburg ], when 'De Stijl' was founded I left it up to you, but I never did agree with you when you ranked the architects alongside us, alongside our 'N. B.' ( / Neo-Plasticism) I knew then that it would lead to conflict… I cannot write about architecture, because I'm not an architect. I mean, I cannot write about the way I write about painting. Later on, though, I will put forward a few ideas.”

Piet Mondrian (1872–1944) Peintre Néerlandais

In a letter to Theo van Doesburg, Paris 9 July 1918; as quoted in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 139
1910's

Way, Idea, Painting

“There's so much plastic in this culture that vinyl leopard skin is becoming an endangered synthetic.”

Lily Tomlin (1939) American actress, comedian, writer, and producer

As Judith Beasley in The Incredible Shrinking Woman (1981)

“However, new plasticism is pure painting [in contrast with the opinion of Theo van Doesburg, then]: the means of expression still are form and color, though these are completely interiorized; the straight line and flat color remain purely pictorial means of expression.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

Color, Painting

“In the biotech revolution, it is the human body, not iron or steel or plastic, that's at the source. Are the biocapitalists going to be allowed to dig without consent into our genetic codes, then market them?”

Ellen Goodman (1941) American journalist and writer

Attributed

“Contrast = dissonance, and hence a maximum expressive effect. I will take as an example a commonplace subject: the visual effect of curled and round puffs of smoke rising between houses. You want to convey their plastic value... Here you have the best example on which to apply research into multiplicative intensities. Concentrate your curves with the greatest possible variety without breaking up their mass; frame them by means of the hard, dry relationship of the surfaces of the houses, dead surfaces that will acquire movement by being colored in contrast to the central mass and being opposed by live forms; you will obtain a maximum effect.”

Fernand Léger (1881–1955) French painter

Quote, 1914, in 'Functions of Painting by Fernand Leger'; p. 14
Quotes of Fernand Leger, 1910's, Contemporary Achievements in Painting, 1914

Color, Housing, Dead

“In fact, a very similar phrase was invented to account for the sudden transition of wood, metal, plastic and concrete into an explosive condition, which was "nonlinear, catastrophic structural exasperation," or to put it another way--as a junior cabinet minister did on television the following night in a phrase which was to haunt the rest of his career--the check-in desk had just got "fundamentally fed up with being where it was."”

Douglas Adams The Long Dark Tea-Time of the Soul

Source: The Long Dark Tea-Time of the Soul (1988), Ch. 2

Way, Night

“With the aid of science we had built mighty civilizations thousands of years ago when most people in Europe (except in Greece and Rome) were living in forests. We had made outstanding scientific discoveries e. g. decimal system in mathematics, plastic surgery in medicine, etc. However, we subsequently took to the unscientific path of superstitions and empty rituals, which has led us to disaster. The way out of the present morass is to go back again to the path shown by our scientific ancestors, the path of Aryabhatta and Brahmagupta, Sushrut and Charak, Panini and Patanjali, Ramanujan and Raman.”

Markandey Katju (1946) Indian judge

As quoted in "Justice Markandey Katju's reply to two students who want to sue him" http://www.ndtv.com/india-news/justice-markandey-katjus-reply-to-two-students-who-want-to-sue-him-507071, NDTV (10 December 2012)

People, Way, Mathematics, Science

“Instead of opposing comic and tragic characters [as Molière and Shakespeare] and contrary scenic states, I organize the opposition of contrasting values, lines, and curves. I oppose curves to straight lines, flat surfaces to molded forms, pure local colors to nuances of gray. These initial plastic forms are either superimposed on objective elements or not, it makes no difference to me. There is only a question of variety.”

Fernand Léger (1881–1955) French painter

Quote from 'Notes on Contemporary Plastic Life', 'Kunstblatt', Berlin 1923; as quoted in The documents of 20th century art – Functions of Painting by Fernand Léger, in Thames and Hudson Ltd, London 1973, p. 25
Quotes of Fernand Leger, 1920's

Color, Question

“They left me, by the side of the road, with a plastic bag and all kinds of bitterness Well, in my mind, and I can say this forever I suppose, and people might laugh at it, but I don't think I ever really left The Libertines, nor can I ever leave The Libertines, you know, having been a founder of the band with Carl, but that sounds silly, doesn't it, seeing as they played all the festivals without me and made it difficult, no - impossible, for me to play live with them.”

Pete Doherty (1979) English musician, writer, actor, poet and artist

December 2004, Newsnight; when asked whether he left The Libertines or The Libertines left him
Music and politics

People, Thinking

“The best fantasy is written in the language of dreams. It is alive as dreams are alive, more real than real… for a moment at least… that long magic moment before we wake. Fantasy is silver and scarlet, indigo and azure, obsidian veined with gold and lapis lazuli. Reality is plywood and plastic, done up in mud brown and olive drab. Fantasy tastes of habaneros and honey, cinnamon and cloves, rare red meat and wines as sweet as summer. Reality is beans and tofu, and ashes at the end. Reality is the strip malls of Burbank, the smoke-stacks of Cleveland, a parking garage in Newark. Fantasy is the towers of Minas Tirith, the ancient stones of Gormenghast, the halls of Camelot. Fantasy flies on the wings of Icarus, reality on Southwest airlines. Why do our dreams become so much smaller when they finally come true?
We read fantasy to find the colors again, I think. To taste strong spices and hear the song the sirens sang. There is something old and true in fantasy that speaks to something deep within us, to the child who dreamt that one day he would hunt the forests of the night, and feast beneath the hollow hills, and find a love to last forever, somewhere south of Oz and north of Shangri-La.
They can keep their heaven. When I die, I'd sooner go to Middle Earth.”

George Raymond Richard Martin (1948) American writer, screenwriter and television producer

The Faces of Fantasy (1996)

Love, Dreams, Color, Thinking

“Art on the contrary sought this harmony in practice [of art itself]. More and more in its creations it has given inwardness to that what surrounds us in nature, until, in Neo-Plasticism, nature is no longer dominant. This achievement of balance may prepare the way for the fulfillment of man and signal the end of (what we call) art.”

Piet Mondrian (1872–1944) Peintre Néerlandais

In a letter to Rudolph Steiner, c. 1921-23; as quoted in Abstract Painting, Michel Seuphor, Dell Publishing Co., 1964, p. 85
1920's

Art, Way, Nature

“.. that dizzy seething of forms and acoustic lights, rowdy and smelly [visible in the paintings at the Futurist exhibition, February 1912 in Paris].... to obtain this total painting which calls for the active cooperation of all the senses: painting of the plastic mood of the universal, you have to paint the way drunkards sing and vomit, sounds, noises and smells.”

Carlo Carrà (1881–1966) Italian painter

Quote in The painting of Sounds, Noises and Smells Carrà, in 'Lacerba' vol. 1. no. 17, 1,Florence, 1 September 1913, pp. 186-187
1910's

Way, Mood, Sense, Light

“After having passed through the various phases of plastic creation [the phases of arrangement, composition, and construction] I have arrived at the creation of 'universal forms' through constructing upon an arithmetical basis with the pure elements of painting.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote in Van Doesburg's article 'From intuition towards certitude', 1930; as quoted in 'Réalités nouvelles', 1947, no. 1, p. 3
1926 – 1931

Universe, Painting

“I was reading about and looking at Mantegna [Italian early-Renaissance painter]. I can sense how good he is for me. His enormous plasticity - it has such powerful substance. That is just what is lacking in my things. I could do something about that if I could add his substantiality to the greatness of form I'm struggling for. At present I see before my eyes very simple and barely articulated things. My second major stumbling is my lack of intimacy. Mackensen's [her former teacher] way of portraying the people here is not great enough for me, too genre like. Whoever could, ought to capture them in runic script..”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, Worpswede 1898; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 197
1898

People, Way, Sense, Teachers

“.. a plastic weapon with which to invent new forms.. [remark in 1951 on the concept of automatism ].”

Robert Motherwell (1915–1991) American artist

Abstract Expressionism, David Anfam, Thames and Hudson Ltd London, 1990, p. 79
1950s

“Man is a creature whose evolutionary environment has been the open air. His nerves, muscles, and senses have developed across three million years in contiguity with natural earth, crude stone, live wood, wind, and rain. Now this creature is suddenly--on the geologic scale, instantaneously--shifted to an unnatural environment of metal and glass, plastic and plywood, to which his psychic substrata lack all compatibility. The wonder is not that we have so much mental instability but so little.”

Jack Vance (1916–2013) American mystery and speculative fiction writer

Section 5 (p. 177)
Short fiction, Rumfuddle (1973)

Nature, Sense

“…in various types of organisms, from snails to flies to mice to people. …learning and memory, as well as synaptic and neuronal plasticity, represent a family of processes that share a common logic and some key components but vary in the details of their molecular mechanisms.”

Eric R. Kandel (1929) American neuropsychiatrist

In Search of Memory (2006)

People, Family, Learning, Memory

“I want to warn against being seduced by technology. I don't think that the really interesting materials to use are those miracle plastics and miracle alloys or fiber composites or anything like that. The real miracle materials are the ones which have been abandoned by modern technology. Beautiful land and things like that. I am utterly disenchanted with technology, because the super uses of technology are the ones being used in Vietnam and that, to me, is not beautiful... I don't say no to the new technology, I don't say no to lasers, I don't say no to advanced plastics. The trouble is, people over and over again use new materials, new materials for old purposes. I'm not interested in that. I think by using old materials you've got to find new purposes. In a way, what is abandoned is more of a challenge than what has just been discovered.”

Carl Andre (1935) American artist

Source: Artists talks 1969 – 1977, p. 26

People, Beauty, Way, Thinking

“The heart does not talk, it is the intellect that does all the talking. All dealings are at the intellectual level. We have become like machines; our very lives have become mechanical. Life has lost its naturalness — like a garland of plastic flowers. There is no heart in life anymore. Only when hearts come together does true life blossom.”

Mata Amritanandamayi (1953) Hindu spiritual leader and guru

Conversation in Helsinki (2000)

Life, Flowers, Nature, Heart

“In my own researches and findings I have always insisted on plastic and sculptural values, and also on what I call a poetic climate. The object, whether it is a book, a bottle, or a human body, once it is visualized and expressed by means of clay, stone, or wood, ceases to be a document and becomes an animated object in stone, wood, or bronze and lives its independent life..”

Ossip Zadkine (1890–1967) French sculptor

Quote of Zadkine from New York, early 1944; as cited in: Artists on Art – from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 430
1940 - 1960

Life, Books, Animals

“Plastic surgery is a way for people to buy themselves a few years before they have to truly confront what ageing is, which of course is not that your looks are falling apart, but that you are falling apart and some-day you will have fallen apart and ceased to exist.”

Nora Ephron (1941–2012) Film director, author screenwriter

Quoted in Christopher Goodwin, "Get real – ageing’s not all Helen Mirren," Times Online (UK) (4 March 2007)

People, Age, Way

“I very much like Arp's things. I consider him the only 'pure' artist after Neo/Plasticism.”

Piet Mondrian (1872–1944) Peintre Néerlandais

In a letter to his friend architect Alfred Roth, 19 November 1931; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 204
1930's

“Because our time is struggling toward the word with which it may express its spirit, many names come to the fore and all make claim to being the right one. […] Without our assistance, time will not bring the right word to light; we must all work together on it. If, however, so much depends on us, we may reasonably ask what they have made of us and what they propose to make of us; we ask about the education through which they seek to make us creators of that word. Do they conscientiously cultivate our predisposition to become creators or do they treat us only as creatures whose nature simply permits training? […] Therefore we are concerned above all with what they make of us in the time of our plasticity; the school question is a life question.”

Max Stirner book The False Principle of our Education

Source: The False Principle of our Education (1842), p. 11

Life, Education, School, Question

“The work of art should be entirely conceived and formed by the mind before its execution. It should receive nothing from Nature’s formal properties or from sensuality or sentimentality... The picture should be constructed entirely from purely plastic elements, that is to say, planes and colours. A pictorial element has no other significance than 'itself', and therefore the picture has no other significance than 'itself.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from the first and only! issue of the art-magazine 'Art Concret', Paris 1930
1926 – 1931

Art, Nature

“The ever-changing display of plant forms, which I have followed for so many years, awakens increasingly within me the notion: The plant forms which surround us were not all created at some given point in time and then locked into the given form, they have been given… a felicitous mobility and plasticity that allows them to grow and adapt themselves to many different conditions in many different places. …How they can be brought together under one concept has slowly become clear to me and that this conception can be enlivened at a higher level [of consciousness]: thus I began to recognize, in the sense perceptible form, a supersensible archetype. Whoever has felt what a rich, saturated thought… has to say, will admit what a passionate movement comes to life in the spirit when we are enthused, and we anticipate the totality of what will evolve step by step…”

Johann Wolfgang von Goethe (1749–1832) German writer, artist, and politician

Goethe's Story of My Botanical Studies (1831) attributed by Frank Teichmann (tr. Jon McAlice) "The Emergence of the Idea of Evolution in the Time of Goethe" http://www.waldorfresearchinstitute.org/pdf/BAIdeaEvolTeich.pdf <br class="br">Attributed

Life, Sense, Passion, Change

Quotes about plastic page 2

Quotes about plastic
page 2