Quotes about plastic
page 3

“I was born into a world of just under two billion people today there are nearly seven billion of us. Whenever I hear those numbers I can honestly say I find it incredible, triple the number of human beings in what seems like the blink of an eye and the world transformed utterly. Human population density is a factor in every environmental problem I have ever encountered, from urban sprawl to urban overcrowding; disappearing tropical forests to ugly sinks of plastic waste, and now the relentless increase of atmospheric pollution. I've spent much of the last 50 years seeking wilderness filming animals in their natural habitat and, to some extent, avoiding humans. But, over the years, true wilderness has become harder to find. m1s58-m3s03”

David Attenborough (1926) British broadcaster and naturalist

How Many People Can Live on Planet Earth? (BBC Horizon, 2009)

People, World, Nature, Problem

“We went to a club where singers and stand-up comedians performed in the hope of being discovered. A thin girl with bright red hair and sequined T-shirt reached the end of her passionately murmured song on a sudden shrill, impossible top note. All conversation ceased. Someone, perhaps maliciously, dropped a glass. Halfway through, the note became a warbling vibrato and the singer collapsed on the stage in an abject curtsy, arms held stiffly in front of her, fists clenched. Then she sprang to her tiptoes and held her arms high above her head with the palms flat as if to forestall the sporadic and indifferent applause."They all want to be Barbra Streisand or Liza Minnelli," George explained as he sucked a giant cocktail through a pink plastic straw. "But no one's looking for that kind of stuff anymore."”

Ian McEwan book In Between the Sheets

Page 139. (From the seventh and final short story, 'Psychopolis')
In Between the Sheets (1978)

Hope, Girl, Passion, Indifference

“I knew more things in the first ten years of my life than I believe I have known at any time since. I knew everything there was to know about our house for a start. I knew what was written on the undersides of tables and what the view was like from the tops of bookcases and wardrobes. I knew what was to be found at the back of every closet, which beds had the most dust balls beneath them, which ceilings the most interesting stains, where exactly the patterns in wallpaper repeated. I knew how to cross every room in the house without touching the floor, where my father kept his spare change and how much you could safely take without his noticing (one-seventh of the quarters, one-fifth of the nickels and dimes, as many of the pennies as you could carry). I knew how to relax in an armchair in more than one hundred positions and on the floor in approximately seventy- five more. I knew what the world looked like when viewed through a Jell-O lens. I knew how things tasted—damp washcloths, pencil ferrules, coins and buttons, almost anything made of plastic that was smaller than, say, a clock radio, mucus of every variety of course—in a way that I have more or less forgotten now. I knew and could take you at once to any illustration of naked women anywhere in our house, from a Rubens painting of fleshy chubbos in Masterpieces of World Painting to a cartoon by Peter Arno in the latest issue of The New Yorker to my father’s small private library of girlie magazines in a secret place known only to him, me, and 111 of my closest friends in his bedroom.”

Bill Bryson (1951) American author

Source: The Life And Times of the Thunderbolt Kid (2006), p. 36

Life, Women, Secret, World

“It's not going to interfere with the film. I heal miraculously. I've been in an auto accident and another fire. They thought I'd need plastic surgery, but I haven't a scar…No, I don't think I'm accident prone, but it's strange.”

Edie Sedgwick (1943–1971) Socialite, actress, model

Referring to a house fire
Edie : Girl On Fire (2006)

Thinking

“I have an artificial left eye. I lost my real eye in a car accident when I was eighteen. In fact, I had to have my entire face rebuilt because I smashed it up pretty good. It took six years and thirteen surgeries. However, I did have the pleasure of freezing a plastic eyeball in an ice cube, putting it in a friend's drink, ("Eyeball in your highball?") and watching him freak completely. Okay, so maybe that's not going down on my good karma record. But it sure was fun.”

Libba Bray (1964) American teen writer

Twenty-One Things You Don't Know About Me

Pleasure, Cars, Drink

“These aren't nerds. They're a bunch of interesting guys, and that's the problem with Revenge of the Nerds II. The movie doesn't have the nerve to be about real nerds. It hedges its bets. A nerd is not a nerd because he understands computers and wears a plastic pen protector in his shirt pocket. A nerd is a nerd because he brings a special lack of elegance to life. An absence of style. An inability to notice the feelings of other people. A nerd is a nerd from the inside out, which is something the nerds who made this movie will never understand.”

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

Review http://www.rogerebert.com/reviews/revenge-of-the-nerds-ii-nerds-in-paradise-1987 of Revenge of the Nerds II: Nerds in Paradise (13 July 1987) Reviews, One-and-a-half star reviews

Life, People, Guy, Feeling

“In another of history's terrible ironies, the barbarian influence on Western Christianity enlivened it beyond anything the diluted Greeks of Byzantium were now capable of. The mad barbarians pushed Western Christianity into retaining some of the plastic abundance, the inventive plasticity, the fathomless versatility that had once been incomparably characteristic of the Greeks.”

Thomas Cahill (1940) American scholar and writer

Source: Sailing the Wine-Dark Sea: Why the Greeks Matter (2003), Ch.VII The Way They Went: Greco-Roman Meets Judeo-Christian

History, Madness

“Having red several of your books, I wonder if you [ Rudolf Steiner, the German founder of anthroposophy] could find the time to read my brochure 'Le Néo-Plasticisme', which I am closing. I believe that Neo-Plasticism is the art of the foreseeable future for all true anthroposophists and theosophists. Neo-Plasticism creates harmony through the equivalence of the two extremes: the universal and the individual. The former by 'revelation', the latter by 'deduction'... It was impossible to bring about an equilibrium of relationships other than by destroying the 'form', and replacing it by a new 'universal' expressive means.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote from Mondrian's letter to Rudolf Steiner, c. 1921-23; as cited in Abstract Painting, Michel Seuphor, Dell Publishing Co 1964, p. 83-85
1920's

Books, Art, Universe, Time

“The relationship of volumes, lines, and colors demands absolute orchestration and order. These values are all unquestionable influential; they have extended into modern objects such as airplanes, automobiles, farm machines, etc. Today we are in competition with the 'beautiful object'; it is undeniable. Sometimes its plastic qualities make it beautiful in itself and consequently unusable; one can only fold one's arms and admire it. There is also today an astonishing art of window display. Certain store windows are highly organized spectacles... If, pushing things to extremes, the majority of manufactured objects and 'stored spectacles' were beautiful and had plasticity, we artists would no longer have any reason to exist.”

Fernand Léger (1881–1955) French painter

Quote from 'Notes on Contemporary Plastic Life', in '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, pp. 24-25
Quotes of Fernand Leger, 1920's

Beauty, Art, Color

“Depth, in a pictorial, plastic sense, is not created by the arrangement of objects one after another toward a vanishing point, in the sense of the Renaissance perspective, but on the contrary (and in absolute denial of this doctrine) by the creation of forces in the sense of push and pull. Nor is depth created by tonal gradation (another doctrine of the academician which, at its culmination, degraded the use of color to a mere function of expressing dark and light).”

Hans Hofmann (1880–1966) American artist

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

Color, Sense, Light

“Space and time are the only forms on which life is built and hence art must be constructed… The realisation of our perceptions of the world in the forms of space and time is the only aim of our pictorial and plastic art… We renounce the thousand-year-old delusion in art that held the static rhythms as the only elements of the plastic and pictorial arts. We affirm in these arts a new element, the kinetic rhythms as the basic forms of our perception of real time.”

Naum Gabo (1890–1977) Russian sculptor

As quoted in: Fred Kleiner (2008) Intl Stdt Edition-Gardner's Art Thru/Ages: Globl Hist. Vol.2, p. 949
1918 - 1935, Realistic Manifesto, 1920

Life, World, Art, Time

“We have created a false dichotomy between behaviors attributable to companion animals and those of other species that blinds us to the inherent worth and needs of all animals.
The problem is that we have constructed a society in which we are rarely forced to think about where what we consume comes from, and this extends to the animals reared for our consumption. While we pamper one set of animals, another set of animals becomes our food. The main difference is that we come to know one set of these animals, while the other set is raised and killed for us, delivered in plastic wrap and Styrofoam, and served up as dinner. If nothing else, this belies the deep moral confusion that we have about animals as a culture.”

Bob Torres American podcaster

Source: Making a Killing: The Political Economy of Animal Rights (2007), p. 2

Food, Behavior, Problem, Thinking

“It seems scarcely credible, that but little more than a century ago it was a matter of serious question with naturalists, whether the petrified shells imbedded in the rocks and strata were indeed shells that had been secreted by molluscous animals; or whether these bodies, together with the teeth, bones, leaves, wood, &c., found in a fossil state, were not formed by what was then termed the plastic power of the earth; in like manner as minerals, metals, and crystals.”

Gideon Mantell (1790–1852) British scientist and obstetrician

The Medals of Creation or First Lessons in Geology (1854)

Secret, Question, Animals

“White collar conservative flashin' down the street,
Pointing that plastic finger at me,
Hoping soon my kind will drop and die,
But I'm gonna wave my freak flag high.”

Jimi Hendrix (1942–1970) American musician, singer and songwriter

If 6 Was 9
Song lyrics, Axis: Bold as Love (1967)

Hope

“Sitting back in the hard plastic chair on the hotel roof, I reflected on that talk I'd given to the CENTCOM intelligence staff the previous Friday. America was in deep shock, reeling from the images of airliners smashing into buildings and those proud towers collapsing like flaming tinsel. Would my fellow citizens now be persuaded to abandon their hard-won individual freedoms to earn a bit more security in a clearly insecure world? As I stood up, another thought struck me. Today is like Pearl Harbor. The world was one way before today, and will never be that way again. We stand at a crease in history.”

Tommy Franks (1945) United States Army general

Source: American Soldier (2004), p. 246

World, Way, History, Intelligence

“Seeing several of these paintings [his series paintings 'Hommage to the square', Josef Albers painted in 1963-64] next to each other makes it obvious that each painting is an instrumentation on its own.
This means that they all are of different palettes, and, therefore, so to speak, of different climates.
Choice of the colors used, as well as their order, is aimed at an interaction – influencing and changing each other forth and back.
Thus, character and feeling alter from painting to painting without any additional 'handwriting' or, so-called, texture.
Though the underlying symmetrical and quasi-concentric order of squares remains the same in all paintings – in proportion and placement – these same squares group or single themselves, connect and separate in many different ways
In consequence, they move forth and back, in and out, and grow up and down and near and far, as well as enlarged and diminished. All this to proclaim color autonomy as a means of plastic organization.”

Josef Albers (1888–1976) German-American artist and educator

6 short quotes from: 'The Origin of Art'
Homage to the square' (1964)

Color, Way, Feeling, Change

“Let me remind you that science is not necessarily wisdom. To know, is not the sole nor even the highest office of the intellect; and it loses all its glory unless it act in furtherance of the great end of man's life. That end is, as both reason and revelation unite in telling us, to acquire the feelings and habits that will lead us to love and seek what is good in all its forms, and guide us by following its traces to the first Great Cause of all, where only we find it pure and unclouded.
If science be cultivated in congruity with this, it is the most precious possession we can have— the most divine endowment. But if it be perverted to minister to any wicked or ignoble purpose — if it even be permitted to take too absolute a hold of the mind, or overshadow that which should be paramount over all, the perception of right, the sense of Duty — if it does not increase in us the consciousness of an Almighty and All-beneficent presence, — it lowers instead of raising us in the great scale of existence.
This, however, it can never do but by our fault. All its tendencies are heavenward; every new fact which it reveals is a ray from the origin of light, which leads us to its source. If any think otherwise, their knowledge is imperfect, or their understanding warped, or darkened by their passions. The book of nature is, like that of revelation, written by God, and therefore cannot contradict it; both we are unable to read through all their extent, and therefore should neither wonder nor be alarmed if at times we miss the pages which reconcile any seeming inconsistence. In both, too, we may fail to interpret rightly that which is recorded; but be assured, if we search them in quest of truth alone, each will bear witness to the other, — and physical knowledge, instead of being hostile to religion, will be found its most powerful ally, its most useful servant. Many, I know, think otherwise; and because attempts have occasionally been made to draw from astronomy, from geology, from the modes of the growth and formation of animals and plants, arguments against the divine origin of the sacred Scripture, or even to substitute for the creative will of an intelligent first cause the blind and casual evolution of some agency of a material system, they would reject their study as fraught with danger. In this I must express my deep conviction that they do injury to that very cause which they think they are serving.
Time will not let me touch further on the cavils and errors in question; and besides they have been often fully answered. I will only say, that I am here surrounded by many, matchless in the sciences which are supposed so dangerous, and not less conspicuous for truth and piety. If they find no discord between faith and knowledge, why should you or any suppose it to exist? On the contrary, they cannot be well separated. We must know that God is, before we can confess Him; we must know that He is wise and powerful before we can trust in Him, — that He is good before we can love Him. All these attributes, the study of His works had made known before He gave that more perfect knowledge of himself with which we are blessed. Among the Semitic tribes his names betoken exalted nature and resistless power; among the Hellenic races they denote his wisdom; but that which we inherit from our northern ancestors denotes his goodness. All these the more perfect researches of modern science bring out in ever-increasing splendour, and I cannot conceive anything that more effectually brings home to the mind the absolute omnipresence of the Deity than high physical knowledge. I fear I have too long trespassed on your patience, yet let me point out to you a few examples.
What can fill us with an overwhelming sense of His infinite wisdom like the telescope? As you sound with it the fathomless abyss of stars, till all measure of distances seems to fail and imagination alone gauges the distance; yet even there as here is the same divine harmony of forces, the same perfect conservation of systems, which the being able to trace in the pages of Newton or Laplace makes us feel as if we were more than men. If it is such a triumph of intellect to trace this law of the universe, how transcendent must that Greatest over all be, in which it and many like it, have their existence! That instrument tells us that the globe which we inhabit is but a speck, the existence of which cannot be perceived beyond our system. Can we then hope that in this immensity of worlds we shall not be overlooked? The microscope will answer. If the telescope lead to one verge of infinity, it brings us to the other; and shows us that down in the very twilight of visibility the living points which it discloses are fashioned with the most finished perfection, — that the most marvellous contrivances minister to their preservation and their enjoyment, — that as nothing is too vast for the Creator's control, so nothing is too minute or trifling for His care. At every turn the philosopher meets facts which show that man's Creator is also his Father, — things which seem to contain a special provision for his use and his happiness : but I will take only two, from their special relation to this very district. Is it possible to consider the properties which distinguish iron from other metals without a conviction that those qualities were given to it that it might be useful to man, whatever other purposes might be answered by them. That it should. be ductile and plastic while influenced by heat, capable of being welded, and yet by a slight chemical change capable of adamantine hardness, — and that the metal which alone possesses properties so precious should be the most abundant of all, — must seem, as it is, a miracle of bounty. And not less marvellous is the prescient kindness which stored up in your coalfields the exuberant vegetation of the ancient world, under circumstances which preserved this precious magazine of wealth and power, not merely till He had placed on earth beings who would use it, but even to a late period of their existence, lest the element that was to develope to the utmost their civilization and energy migbt be wasted or abused.
But I must conclude with this summary of all which I would wish to impress on your minds—* that the more we know His works the nearer we are to Him. Such knowledge pleases Him; it is bright and holy, it is our purest happiness here, and will assuredly follow us into another life if rightly sought in this. May He guide us in its pursuit; and in particular, may this meeting which I have attempted to open in His name, be successful and prosperous, so that in future years they who follow me in this high office may refer to it as one to be remembered with unmixed satisfaction.”

Thomas Romney Robinson

Robinson in his 1849 adress, as quoted in the Report of the Nineteenth Meeting of the British Association for the Advancement of Science https://archive.org/stream/report36sciegoog#page/n50/mode/2up, London, 1850.

Love, Life, Wisdom, Men

“Since 1990 I have been occupied creating new forms of life. Not pollen or seeds but plastic yellow tubes are used as the basic material of this new nature. I make skeletons that are able to walk on the wind, so they don’t have to eat. Over time, these skeletons have become increasingly better at surviving the elements such as storm and water and eventually I want to put those animals out in herds on the beaches so they will live their own lives.”

Theo Jansen (1948) artist

Theo Jansen http://streamingmuseum.org/theo-jansen/ at streamingmuseum.org, 2014.

Life, Nature, Water, Time

“In the past decade the distinction between connotation and denotation has been blurred by politics. The definitions of words should not change with every shift in the winds of public sentiment. Our society has already suffered from four decades of Situational Ethics. Heaven help us in this new era of Situational Definitions. A rocket scientist or military engineer can teach you about Sympathetic Detonations, but it is 21st Century television commentators who have introduced us to the era of Sympathetic Denotations. We now live in an Orwellian world where a semi-auto rifle is arbitrarily called an "assault rifle" if it has black plastic furniture, where a standard capacity magazine is called a "high capacity" magazine, where the confiscation and redistribution of wealth is dubbed "fairness." This also a new age when folks who are given free health care, HD televisions, free cell phones, and enough money to be able to afford air conditioning are deemed to be "living in poverty."”

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

The fluidity of our language is evidence that America is sliding into oblivion. Hold fast to the true meaning of words and phrases, or we are doomed. Incendiary Words: Of Detonations and Denotations https://survivalblog.com/incendiary_words_of_detonations_and_denotations/ Survivalblog, 27 May 2013

Money, Health, Age, World

“The commitment I have made is terrible and the plastic means appear and disappear at the moment of implementation. It's terrible... And the chaos of will? What law? It’s terrible... Then I struggle with sculpture: I work, work and work and I don't know what I give. Is it interior? Is it exterior? Is it sensation? Is it delirium? Is it brain? Analysis? Synthesis? I don't know what the f… it is! Forms on forms.. confusion... The Cubists are wrong. Picasso is wrong. The academics are wrong. We're all a bunch of d.. heads.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

1912
Source: an 2nd undated letter to Gino Severini (probably July or August 1912, or November); as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008.

Law, Appearance

“Smarmy, plastic, oily, greasy, unctuous, shallow, superficial, old-fashioned, superannuated, crap”

Bob Monkhouse (1928–2003) English entertainer

Summing up opinions of him Obituary in The Independent http://web.archive.org/web/20100507114758/http://www.independent.co.uk/news/obituaries/bob-monkhouse-549171.html

Fashion

“The relative meaning of two physical facts in an emotionally controlled relation always creates the phenomenon of a third fact of a higher order, just as two musical sounds, heard simultaneously create the phenomenon of a third, fourth or fifth. The nature of this higher third is non-physical. In a sense it is magic. Each such phenomenon always overshadows the material qualities and the limited meaning of the basic factors from which it has sprung. For this reason Art expresses the highest quality of the spirit when it is surreal in nature; or, in terms of the visual arts, when it is of a surreal plastic nature.”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 41
Search for the Real and Other Essays (1948)

Art, Music, Nature, Sense

“She…cast an eye over the contents of his cart, wondering whether this was totally random stuff…to perfect his Walmart shopper disguise: 5.56-millimeter cartridges, a water purification device, jerky, bug repellent, a camouflage hat. Freeze-dried meals. A roll of black plastic sheeting. Parachute cord. Batteries. A folding bucksaw. Camouflage binoculars.…
It turned out that Sokolov really did want to buy all that stuff. Not because he envisioned any particular use for it. He just believed in stocking up on such things, on general principles, whenever an opportunity presented itself.
He would fit in well here.”

Neal Stephenson book Reamde

Day 20, Northern Idaho
Reamde (2011), Part II: American Falls

Water, Perfection

“In old days the plastic arts, music, and poesy were so germane to man in his totality that his Transcendence plainly manifest in them. … What is to-day obvious to all is a decay in the essence of art. … the opposition to man's true nature as man.”

Karl Jaspers (1883–1969) German psychiatrist and philosopher

Man in the Modern Age (1933)

Art, Music, Nature

“Like Duchamp's 'ready mades' - manufactured objects which qualified as art because he chose to call them such, the most unremarkable and inappropriate items - a pin, a plastic clothes peg, a television component, a razor blade, a tampon - could be brought within the province of punk (un)fashion… Objects borrowed from the most sordid of contexts found a place in punks' ensembles; lavatory chains were draped in graceful arcs across chests encased in plastic bin liners. Safety pins were taken out of their domestic 'utility' context and worn as gruesome ornaments through the cheek, ear or lip… fragments of school uniform (white bri-nylon shirts, school ties) were symbolically defiled (the shirts covered in graffiti, or fake blood; the ties left undone) and juxtaposed against leather drains or shocking pink mohair tops.”

Dick Hebdidge

Dick Hebdidge (1979). . p.106-12

School, Art, Fashion, Clothes

“Nevertheless I like being in Norway [to escape the Nazi threat Schwitters fled to Norway, c. 1937], for it is a country of unparalleled beauty... I paint landscapes and portraits, model portrait, glue and paint abstract pictures and glue abstract plastic art; besides, I write poetry in German... What distresses me most of all is that I cannot live in my 'Merzraum' [a sculptured studio-space, Schwitters had built in Germany in the 1920's, but bomb-damaged in the war] and that it may be given up to destruction. For that reason I ask you once more, can you keep your ear to the ground again, to see if anyone in America is willing to give me an opportunity to shape a three-dimensional room?”

Kurt Schwitters (1887–1948) German artist

In a letter to w:Galka Scheyer, 24 July 1937; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, Stedelijk Museum Amsterdam, NAI Publishers, Rotterdam 2000, p. 41.
1930s
Source: http://www.sprengel-museum.de/bilderarchiv/sprengel_deutsch/fotos/merzbau1933_530.jpg

War, Beauty, Art, Painting

“To Principal Caird… imaging of the Unseen is of inestimable value. It furnishes an objective counterpart to religious emotion, permanent but plastic—capable of indefinite change and purification in response to the changing thoughts and aspirations of mankind.”

John Tyndall (1820–1893) British scientist

p, 125
New Fragments (1892)

Change

“[At an anti-vivisection demonstration]I went up to the ringleader, a tall, thin crusty with little braided beaded fussiness in his hair.'I can't express to you all just how diametrically opposed I am to what you're saying. I mean, this sounds like a rhetorical figure, but it's not - I really mean this: I would genuinely go into any field and kill every single horse, cow, goat, sheep, dog, cat, rabbit, gerbil, if I honestly believed in my heart for just one moment, just one moment, that it might be a bit of a laugh.' By now, I had the fellow's Oxfam lapels in my fists. 'BECAUSE I AM SO BORED AND TIRED OF EVERYTHING SINCE SHE LEFT!!'Dropping my head onto his bony vegan shoulder, I sobbed loud and long, in great, wracking heaves and gasps. When I finally ceased and straightened up, my hands were full of small, plastic lapel-badges.”

Robert Newman (1964) British comedian, born 1964

Dependence Day (1994).

Dogs, Cats, Heart, Horse

“Styrofoam and plastic milk jugs are biodegradable! Do you know what isn't biodegradable? Paper!”

Rush Limbaugh (1951) U.S. radio talk show host, Commentator, author, and television personality

The Rush Limbaugh Show
1991-06-15
Radio, quoted in [The Way Things Aren't: Rush Limbaugh's Reign of Error, Fairness & Accuracy In Reporting, New Press, 1995-05-01, 19, 156584260X, 31782620]

“People are just people
They shouldn't make you nervous
The world is everlasting, it's coming and it's going
If you don't toss your plastic
The streets won't be so plastic
And if you kiss somebody then both of you get practice”

Regina Spektor (1980) American singer-songwriter and pianist

Ghost Of Corporate Future
Soviet Kitsch (2004)

People, World, Kiss

“Here is how [life] happens. We find something we want to do, if we are lucky, or something we need to do, if we are like most people. We use it as a way to obtain food, shelter, clothing, mates, comfort, a first folio of Shakespeare, model airplanes, American Girl dolls, a handful of rice, sex, solitude, a trip to Venice, Nikes, drinking water, plastic surgery, child care, dogs, medicine, education, cars, spiritual solace -- whatever we think we need. To do this, we enact the role we call "me," trying to brand ourselves as a person who can and should obtain these things.In the process, we place the people in our lives into compartments and define how they should behave to our advantage. Because we cannot force them to follow our desires, we deal with projections of them created in our minds. But they will be contrary and have wills of their own. Eventually new projections of us are dealing with new projections of them. Sometimes versions of ourselves disagree. We succumb to temptation — but, oh, father, what else was I gonna do? I feel like hell. I repent. I'll do it again… This has not been a conventional review. There is no need to name the characters, name the actors, assign adjectives to their acting. Look at who is in this cast. You know what I think of them. This film must not have seemed strange to them. It's what they do all day, especially waiting around for the director to make up his mind.”

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

Review http://www.rogerebert.com/reviews/synecdoche-new-york-2008 of Synecdoche, New York (5 November 2008) Reviews, Four star reviews

Life, People, Education, Food

“The distinguishing quality of most primitive art is the intense vitality which it possesses, because it has been made by a people in close touch with life, who felt simply and strongly, and whose art was a means of expressing vitally important beliefs, hopes and fears. Negro sculpture is essentially religious and cannot be detached from the tribal gods, priests and ancient rituals. When civilization destroyed these things, it also destroyed their Art. These carvings have a serious and pathetic power – a bigness and monumental simplicity born of the racial patience in bearing life with all its terror and mystery....(But as always, it was the artist who was the first to see in them a new thing – a new plastic conception – an artistic worth – a value as art – their importance as art).”

Henry Moore (1898–1986) English artist

1925 - 1940
Source: Primitive African Sculpture, Foreword, Lefevre Galleries, London 1933, p. ?

Life, God, People, Fear

“Applied knowledge in the Renaissance had to take the form of translation of the auditory into visual terms, of the plastic into retinal form.”

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. 180

Knowledge

“This new plastic idea will ignore the particulars of appearance, that is to say, natural form and color. On the contrary, it should find its expression in the abstraction of form and color, that is to say, in the straight line and the clearly defined primary color.”

Piet Mondrian (1872–1944) Peintre Néerlandais

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

Color, Idea, Nature, Appearance

“Art deals with profound and simple moods.... Let us suppose that the artist – in this instance [the artist] Picabia – gets a certain impression by looking at our skyscrapers, our city, our way of life, and that he tries to reproduce it.... he will convey it in plastic ways on the canvas, even though we see neither skyscrapers nor city on it.”

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

quote from an interview in 'A Paris painter', H. Hapgood; in 'Globe and commercial Advertiser', 20 February 1913, p. 8 / 10
1910's

Life, Art, Way, Mood

“I wish I had a twin, so I could know what I'd look like without plastic surgery.”

Joan Rivers (1933–2014) American comedian, actress, and television host

As quoted in On Being Blonde (2004), by P. Munier, p. 84

“I remained there [in The Netherlands, 1914-18] for the duration of the war, continuing my work of abstraction in a series of church. facades, trees, houses, etc. But I felt that I still worked as an Impressionist and was continuing to express particular feelings, not pure reality. Although I was thoroughly conscious that we can never be absolutely 'objective', I felt that one can become less and less subjective, until the subjective no longer predominates in one's work. More and more I excluded from my painting all curved lines, until finally my compositions consisted only of vertical and horizontal lines which formed crosses, each separate and detached from the other. Observing sea, sky and stars, I sought to indicate their plastic function through a multiplicity crossing verticals and horizontals.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Source: Quote of Mondrian about 1914-1918; 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. 43

War, Feeling, Star, Reality

“The neat division between roles and real selves reduces society to a masquerade party. Yet not even plastic surgery can heal the psychic disfigurements. The social evil reaches into the living fibers; people not only assume roles, they are roles.”

Russell Jacoby (1945) American historian

Source: Social Amnesia: A Critique of Conformist Psychology from Adler to Laing (1975), p. 68

People, Evil

“The sole religious orthodoxy permitted in our public schools is the separation of paper from plastic. Not so many miles from this beach, great-grandchildren of westering pioneers chain themselves to redwoods, martyrs of the new animism.”

Richard Rodríguez (1944) American journalist and essayist

Brown : The Last Discovery of America (2003)

School, Animals

“European art [however] has developed from mimetic-ism and only today is arriving at an elementary plastic art.”

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

Quote from van Doesburg's article: 'Great Masters of Art' in Dutch art-magazine Eenheid no. 357, 7 April 1917
with elementary plastic art Van Doesburg meant an art without representation (mimetic) any longer]
1912 – 1919

Art

“Pedal faster! Come on, there are crocodiles in this water and I hear they'll eat anything - even plastic!”

Chris Pontius (1974) American actor

[Prostitute Boatrace- Jackass Episodes]

Water

“They'd left the place littered with the abstract white forms of the foam packing units, with crumpled plastic film and hundreds of tiny foam beads. The Ono-Sendai; next year's most expensive Hosaka computer; a Sony monitor; a dozen disks of corporate-grade ice; a Braun coffee maker.”

William Gibson book Neuromancer

Neuromancer (1984)

Coffee

“Since one cannot create 'depth' by carving a hole in the picture, and since one should not attempt to create the illusion of depth by tonal gradation, depth as a plastic reality must be two dimensions in a formal sense as well in the sense of color. 'Depth' is not created on a flat surface as an illusion, but as a plastic reality. The nature of the picture plane makes it possible to achieve depth without destroying the two-dimensional essence of the picture plane.. A plane is a fragment in the architecture of space. When a number of planes are opposed one to another, a spatial effect results. A plane functions in the same manner as the walls of a building... Planes organized within a picture create the pictorial space of its composition... The old masters were plane-consciousness. This makes their pictures restful as well as vital…”

Hans Hofmann (1880–1966) American artist

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

Color, Nature, Reality, Sense

“First of all, the art of living; then as my ideal profession, poetry and philosophy, and as my real profession, plastic arts; in the last resort, for lack of income, illustrations.”

Paul Klee (1879–1940) German Swiss painter

Quote of Klee (Munich, c. 1910); as cited by Gualtieri Di San Lazzaro, Klee, Praeger, New York, 1957, p. 16
Klee was married, had a young son then and did the housework, living in an suburb of Munich
1903 - 1910

Art

“The House of Fantasy is built of stone and wood and furnished in High Medieval. Its people travel by horse and galley, fight with sword and spell and battle-axe, communicate by palantir or raven, and break bread with elves and dragons.
The House of Science Fiction is built of duralloy and plastic and furnished in Faux Future. Its people travel by starship and aircar, fight with nukes and tailored germs, communicate by ansible and laser, and break protein bars with aliens.
The House of Horror is built of bone and cobwebs and furnished in Ghastly Gothick. Its people travel only by night, fight with anything that will kill messily, communicate in screams and shrieks and gibbers, and sip blood with vampires and werewolves.”

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

"The Furniture Rule", explaining the differences and similarities between the fields of weird fiction in Dreamsongs

People, Travel, Communication, Science

“A presumption of equality may be contrary to present fact, and yet not contrary to a desideratum. We are not as a fact all equally fit to live, equally responsible, or equally deserving of the protection of the law: but it will hardly be doubted that it would be desirable if we were.
But further, the presumption of a desired condition is, in any group of plastic minds, a force tending to bring about the thing presumed, i. e., to create it. It aids a boy to reach maturity to treat him as if he were a little older than he is. A little older: for the presumption loses its effect if it is too wide of the actual fact. The fundamental presumptions of the law are justified on this basis and to this extent: if they are too wide of the truth to be creative, they are not justified.”

William Ernest Hocking (1873–1966) American philosopher

Source: Present Status of the Philosophy of Law and of Rights (1926), Ch. VI : Presumptive Rights, § 24, p. 63.

Truth, Law, Boy

“When my looks are shot—which I reckon will be in about six years—I’ll have plastic surgery here on my chin, and they can pull my cheeks back, but I’m not ready for that. And because of the smoking, the mouth is starting to give.”

Courtney Love (1964) American punk singer-songwriter, musician, actress, and artist

On plastic surgery, The Sydney Morning Herald http://www.smh.com.au/lifestyle/celebrity/the-11-most-courtney-love-things-courtney-love-said-in-her-latest-interview-20140811-102qxd.html (11 August 2014) 2014–2017

“Did you ever hear about the great deception?
Well the plastic revolutionaries take the money and run.
Have you ever been down to love city?
Where they rip you off with a smile,
And it don't take a gun.”

Van Morrison (1945) Northern Irish singer-songwriter and musician

The Great Deception
Song lyrics, Hard Nose the Highway (1973)

Love, Money, Smile

“This mechanical element, which one is sorry to see disappear from the screen, and which one is impatient to see again, is discreet; it appears only at intervals, and far off, like a spotlight that flashes on in a long, intermittent, harrowing drama of totally uncompromising realism. The plastic event is non-the less there and seems to me be laden with consequences both in itself and for the future.”

Fernand Léger (1881–1955) French painter

on the filming of Abel Gance's La Roue, 1922
Quote in: Fernand Léger - The Later Years -, catalogue edited by Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 21
Quotes of Fernand Leger, 1920's

Appearance, Future

“Of the various plastic orientations developed over the past twenty-five years, abstract art is the most important, the most interesting... It is an extreme state which only a few creators and admirers are capable of achieving. The danger of this formula lies in the very elevation of its intention. Modelings, contrasts, objects have disappeared, leaving only very pure, very precise relations, and a few colors, a few lines; blank spaces, without depth. Add to this a respect for the vertical plane – thin, rigid, sharp. It is a true, incorruptible purism.”

Fernand Léger (1881–1955) French painter

Quote, 1945 of Fernand Leger, in Abstract Painting, Michel Seuphor, Dell Publishing Co., 1964, p. 33
Quotes of Fernand Leger, 1940's

Art, Color, Past

“The classic instrument to measure drawn angles and to draw angles of a given measure is the protractor — essentially half a circular ring, subdivided by ray segments into 180 degrees. For reasons I was unable to find out, this instrument has recently been superseded by an isosceles right triangle — called geo-triangle, solid, transparant, made of plastic — with an angular division radiating from the midpoint of the hypotenuse to the other sides. Well, inside the triangle half a circle with the midpoint of the hypotenuse as its centre is indicated, and from the position of the degree numbers it becomes clear that it is the semicircle that really matters. One is inclined to say "an outrageously misleading instrument"…”

Hans Freudenthal (1905–1990) Dutch mathematician

Source: Mathematics as an Educational Task (1973), p. 363

Drawing

“Up with life. Stamp out all small and large indignities. Leave everyone alone to make it without pressure. Down with hurting. Lower the standard of living. Do without plastics. Smash the servo-mechanisms. Stop grabbing. Snuff the breeze and hug the kids. Love all love. Hate all hate.”

John D. MacDonald (1916–1986) writer from the United States

Travis McGee series, A Tan and Sandy Silence (1972)

Hurt

“We fancy it rhetoric, when we speak of eminent virtue. We do not yet see that virtue is Height, and that a man or a company of men, plastic and permeable to principles, by the law of nature must overpower and ride all cities, nations, kings, rich men, poets, who are not.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

1840s, Essays: First Series (1841), Self-Reliance
Context: Inasmuch as the soul is present, there will be power not confident but agent. To talk of reliance is a poor external way of speaking. Speak rather of that which relies, because it works and is. Who has more obedience than I masters me, though he should not raise his finger. Round him I must revolve by the gravitation of spirits. We fancy it rhetoric, when we speak of eminent virtue. We do not yet see that virtue is Height, and that a man or a company of men, plastic and permeable to principles, by the law of nature must overpower and ride all cities, nations, kings, rich men, poets, who are not.
This is the ultimate fact which we so quickly reach on this, as on every topic, the resolution of all into the ever-blessed ONE. Self-existence is the attribute of the Supreme Cause, and it constitutes the measure of good by the degree in which it enters into all lower forms. All things real are so by so much virtue as they contain.

Men, Law, Nature

“These creatures you have seen are animals carven and wrought into new shapes. To that, to the study of the plasticity of living forms, my life has been devoted. I have studied for years, gaining in knowledge as I go. I see you look horrified, and yet I am telling you nothing new. It all lay in the surface of practical anatomy years ago, but no one had the temerity to touch it.”

H. G. Wells book The Island of Doctor Moreau

Source: The Island of Doctor Moreau (1896), Ch. 14: Doctor Moreau Explains

Life, Knowledge, Study, Animals

“Gamblers need action, even when the odds suck. And so they return to the ships, night after night—the slot-machine ladies, clutching their plastic cups of quarters; the shouting, hard-drinking craps-table crowd; the roulette addicts, who truly believe, all evidence to the contrary, that there is something lucky about their birthdates; the blackjack loners, with their foolproof systems that don’t work—all of them eager to resume the inexorable process of transferring their cash to whoever owns the ship.”

Dave Barry (1947) American writer

Source: Novels, Tricky Business (2002), Chapter 2

Drink, Relation ships, Night

“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.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Mondrian refers to André Gide's 'Dada', in 'Nouvelle Revue Francaise', 1 April 1920
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

“Making models was reputed to be hugely enjoyable… But when you got the kit home and opened the box the contents turned out to be of a uniform leaden gray or olive green, consisting of perhaps sixty thousand tiny parts, some no larger than a proton, all attached in some organic, inseparable way to plastic stalks like swizzle sticks. The tubes of glue by contrast were the size of large pastry tubes. No matter how gently you depressed them they would blurp out a pint or so of a clear viscous goo whose one instinct was to attach itself to some foreign object—a human finger, the living-room drapes, the fur of a passing animal—and become an infinitely long string. Any attempt to break the string resulted in the creation of more strings. Within moments you would be attached to hundreds of sagging strands, all connected to something that had nothing to do with model airplanes or World War II. The only thing the glue wouldn’t stick to, interestingly, was a piece of plastic model; then it just became a slippery lubricant that allowed any two pieces of model to glide endlessly over each other, never drying. The upshot was that after about forty minutes of intensive but troubled endeavor you and your immediate surroundings were covered in a glistening spiderweb of glue at the heart of which was a gray fuselage with one wing on upside down and a pilot accidentally but irremediably attached by his flying cap to the cockpit ceiling. Happily by this point you were so high on the glue that you didn’t give a shit about the pilot, the model, or anything else.”

Bill Bryson The Life and Times of the Thunderbolt Kid

Source: The Life And Times of the Thunderbolt Kid (2006), p. 81

War, World, Making love, Way

“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.”

Neal Stephenson book Zodiac

"I can't believe an assistant attorney general came right out and said that."
"Well, I wouldn't say it in public."
"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

“I'm a conscious eater, meaning I'm conscious about the things I put in my mouth. I know the ingredients in the food, I know the chemicals, if there are chemicals, I know what that cup is made of, and if I'm eating out of this plastic utensil, I know what it's doing. I'm a "conscious eater."”

Waka Flocka Flame (1986) American rapper and comedian

Video interview https://www.tmz.com/2018/01/25/waka-flocka-flame-not-vegan-new-diet/ with TMZ (25 January 2018); as quoted in "Drake, Chadwick And Other Famous Black Men Who’ve Gone Vegetarian And Vegan" https://madamenoire.com/1018881/drake-famous-men-vegetarian-vegan/6/, MadameNoire (22 March 2018).

Food