Quotes about surface
page 4

“Architecture is treated as crystallisation; sculpture, as the organic modelling of the material in its sensuous and spatial totality; painting, as the coloured surface and line; while in music, space, as such, passes into the point of time possessed of content within itself, until finally the external medium is in poetry depressed into complete insignificance.”

Georg Wilhelm Friedrich Hegel book Lectures on Aesthetics

Die Architektur ist dann die Kristallisation, die Skulptur die organische Figuration der Materie in ihrer sinnlich-räumlichen Totalität; die Malerei die gefärbte Fläche und Linie; während in der Musik der Raum überhaupt zu dem in sich erfüllten Punkt der Zeit übergeht; bis das äußere Material endlich in der Poesie ganz zur Wertlosigkeit herabgesetzt ist. Part III https://www.marxists.org/reference/archive/hegel/works/ae/ch03.htm Lectures on Aesthetics (1835)

Music, Time, Painting

“Why must a film explain everything? Why must every motivation be spelled out? Aren't many films fundamentally the same film, with only the specifics changed? Aren't many of them telling the same story? Seeking perfection, we see what our dreams and hopes might look like. We realize they come as a gift through no power of our own, and if we lose them, isn't that almost worse than never having had them in the first place?There will be many who find "To the Wonder" elusive and too effervescent. They'll be dissatisfied by a film that would rather evoke than supply. I understand that, and I think Terrence Malick does, too. But here he has attempted to reach more deeply than that: to reach beneath the surface, and find the soul in need.”

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

Review http://www.rogerebert.com/reviews/to-the-wonder-2013 of To the Wonder (April 6, 2013) NOTE: This was the last movie review Roger Ebert filed. Reviews, Three-and-a-half star reviews

Dreams, Hope, Soul, Motivation

“I think the Earth got struck by a meteor and the water underneath went shooting out to the surface. And the Earth was covered with water.”

Kent Hovind (1953) American young Earth creationist

Creation seminars (2003-2005), The Hovind theory

Thinking, Water

“My retainers keep me on ice. Dry ice. It slows my metabolism, takes the edge off my appetite, slightly. I lie, bound with heavy chains, between two great slabs of it, naked and sweating, trying to sleep through the torment of a summer's day.

They've given me the local fall-out shelter, the very deepest room they could find, as I requested. Yet my senses move easily through the earth and to the surface, out across the lazy, warm suburbs, restless emissaries skimming the sun-soaked streets. If I could rein them in I would, but the instinct that drives them is a force unto itself, a necessary consequence of what I am and the reason I was brought into being.

Being, I have discovered, has certain disadvantages. I intend seeking compensation, just as soon as the time is right.”

Greg Egan (1961) Australian science fiction writer and former computer programmer

Neighbourhood Watch http://gregegan.customer.netspace.net.au/HORROR/NEIGHBOUR/Neighbour.html Fiction

Lie, Sense, Sleep, Time

“[I] launched a new offensive against the fortress of painting. First, white thinned out in linseed oil as a general base. Second, color the entire surface lightly by applying very large areas of different colors that swim into one other and that must remain free of any effect of chiaroscuro. Third, a drawing, independent of and substituting for the unformulated tonal values. Then, at the end, some bass notes to ward off flabbiness, not too dark, but colored bass notes. This is the style that connects drawing and the realm of color, a saving transfer of my fundamental graphic talent into the domain of painting”

Paul Klee (1879–1940) German Swiss painter

Quote (1911), Diary # 875; as cited by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.htmlparagraph 1911 - 1914

Color, Drawing, Painting

“We speak of concrete and not abstract painting because nothing is more concrete, more real than a line, a colour, a surface. [quote of Van Doesburg, c. 1925]”

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

quoted in 'Abstract Art', Anna Moszynska, Thames and Hudson 1990, p. 107
Hans Arp used some years earlier already this new term: 'concrete art' as a rejection of the term 'abstract art'
1920 – 1926

Quotes, Painting

“In the part of the night where it's quietest, around three or four o'clock, I started wondering where this black man's soul had disappeared to as it left his body. His thoughts, impressions, memories, whatever: the background noise we all have in our head that stops us from forgetting we're alive. It had to go somewhere: it couldn't just vaporize—it must have gushed, trickled or dripped onto some surface, stained it somehow. Everything must leave some kind of mark.”

Tom McCarthy (writer) book Déjà vu

Source: Remainder (2005), Ch. 11.

Soul, Memory, Parting, Night

“Night City was like a deranged experiment in social Darwinism, designed by a bored researcher who kept one thumb permanently on the fast-forward button. Stop hustling and you sank without a trace, but move a little too swiftly and you'd break the fragile surface tension of the black market; either way, you were gone, with nothing left of you but some vague memory in the mind of a fixture like Ratz, though heart or lungs or kidneys might survive in the service of some stranger with New Yen for the clinic tanks.”

William Gibson book Neuromancer

Neuromancer (1984)

Way, Memory, Heart, Night

“Five billion people could drown in Loch Ness, and no one would show above the surface. It is a big lake. […] As of the 1960s, there were over 9,000 sightings of the Loch Ness Monster. Today, there have been over 11,000 such sightings.”

Kent Hovind (1953) American young Earth creationist

Unmasking the False Religion of Evolution (1996)

People

“Self-painting is a further development of the art of painting. The surface of an image has lost its function as the sole means of conveying expression. It was taken back to its roots, to the wall, to the object, to the living being, to the human body. By using my body as a means of conveying expression, the result created is a happening captured by a camera as it progresses, and an experience which viewers can share.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 140 (1985)

Art, Painting

“There is little doubt that the planetary patina—including ourselves—is autopoietic. Life at the surface of the Earth seems to regulate itself in the face of external perturbation, and does so without regard for the individuals and species that compose it. More than 99.99 percent of the species that have ever existed have become extinct, but the planetary patina, with its army of cells, have continued for more than three billion years. …trillions of communicating, evolving microbes. The visible world is a late-arriving, overgrown portion of the microcosm, and it functions only because of its well-developed connection with the microcosm's activities.”

Lynn Margulis (1938–2011) American evolutionary biologist

Microcosmos: Four Billion Years of Evolution from Our Microbial Ancestors (1986)

Life, World, Communication

“After having thus successively taken each member of the community in its powerful grasp and fashioned him at will, the government then extends its arm over the whole community. It covers the surface of society with a network of small, complicated rules, minute and uniform, through which the most original minds and the most energetic characters cannot penetrate, to rise above the crowd. The will of man is not shattered, but softened, bent, and guided; men are seldom forced by it to act, but they are constantly restrained from acting. Such a power does not destroy, but it prevents existence: it does not tyrannize, but it compresses, enervates, extinguishes, and stupefies a people, till each nation is reduced to nothing better than a flock of timid and industrious animals, of which the government is the shepherd.”

Alexis De Tocqueville book Democracy in America

Book Four, Chapter VI.
Democracy in America, Volume II (1840), Book Four

Men, People, Communication, Fashion

“There's real strangeness in this world of ours. Back in the machine times, there was so much noise front and back, so to speak, it kept us from knowing what lies behind the surface of things.”

James Howard Kunstler book World Made By Hand

Source: World Made By Hand (2008), Chapter 55, p. 262

World, Time

“We are at that one of life's hours (it strikes for every man) when truth imposes itself, by itself, with irresistible obviousness, when each of us has only to stretch forth his arms to reach at a single bound the surface of shadows, even the sunlight of God. Then is human prudence but a snare and a delusion. Sanctity!' cried out the old priest in a deep voice; 'by saying this word in your presence and for you alone, I know the hurt I inflict upon you! You are not unaware of what sanctity is: a vocation, a calling. Up to the place where God awaits you you will have to climb—climb, or be lost. Expect no human help.”

Georges Bernanos book Under the Sun of Satan

Source: Sous le soleil de Satan (Under the Sun of Satan), 1926, pp.101-102, Fr. Menou-Segrais to the young Fr. Donissan

Life, God, Truth, Help

“the possibility of dispersing colors through a given layout naturally appealed to me. The idea of putting a lot of color on the panel surfaces didn't. It would probably have been too strong an effect to live with. I wanted something more woven in. the interstices – that was suggested by I. M. Pei – suited me better because if one chose to look at them the eye would be moved along by the differences in color.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 18
Conversation with Karen Wilkin' (1986-1988)

Color, Idea, Nature, Strong

“It is not by these means [modern humanism and humanitarianism, idealism, etc. ] that humanity can get that radical change of its ways of life which is yet becoming imperative, but only by reaching the bed-rock of Reality behind,… not through mere ideas and mental formations, but by a change of the consciousness, an inner and spiritual conversion. But that is a truth for which it would be difficult to get a hearing in the present noise of all kinds of many-voiced clamour and confusion and catastrophe…. Science has missed something essential; it has seen and scrutinised what has happened and in a way how it has happened, but it has shut its eyes to something that made this impossible possible, something it is there to express. There is no fundamental significance in things if you miss the Divine Reality; for you remain embedded in a huge surface crust of manageable and utilisable appearance. It is the magic of the Magician you are trying to analyse, but only when you enter into the consciousness of the Magician himself can you begin to experience the true origination, significance and circles of the Lila…. Another danger may then arise [once materialism begins to give way]… not of a final denial of the Truth, but the repetition in old or new forms of a past mistake, on one side some revival of blind fanatical obscurantist sectarian religionism, on the other a stumbling into the pits and quagmires of the vitalistic occult and the pseudo-spiritual'mistakes that made the whole real strength of the materialistic attack on the past and its credos. But these are phantasms that meet us always on the border line or in the intervening country between the material darkness and the perfect Splendour. In spite of all, the victory of the supreme Light even in the darkened earth-consciousness stands as the one ultimate certitude….”

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

Undated
India's Rebirth

Life, Truth, Religion, Way

“So long as you live and in whatever circumstances the kaleidoscope of life may place you, think for yourself and act in accordance with the conclusions of that thinking; avoid so far as possible drifting with the current of the mob or being too easily influenced by the outward manifestation of things. Take your own look beneath the surface and don't trust others to look for you. If you will follow this rule consistently, I am sure you will keep out of much trouble, will make the most out of your life and, what is more, will contribute most of value to the community life.”

Frank B. Jewett (1879–1949) American physicist

as quoted in Think for yourself. [Indiana telephone news, Volume 30, Indiana Bell Telephone Company, 1940, 21]

Life, Communication, Thinking

“As on the crystal surface of a lake
The trembling shafts of sunlight mirrored are,
Leaping to roof-top, and, at random glancing,
Sparkle and gleam, in all directions dancing.”

Ludovico Ariosto book Orlando Furioso

Qual d'acqua chiara il tremolante lume,
Dal sol percossa o da' notturni rai,
Per gli ampli tetti va con lungo salto
A destra et a sinistra, e basso et alto.
Canto VIII, stanza 71 (tr. B. Reynolds)
Orlando Furioso (1532)

Dance

“I have been deeply interested during the last ten years in the use of colour with form. I have applied oil colour – white, grey, and blues of different degrees of tone... I have been very influenced by the natural colour and luminosity in stones and woods and the change in colour as light travels over the surface contours. When I pierced the material tight through a great change seemed to take place in the concavities from which direct light was excluded. From this experience my use of colour developed.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1932 - 1946, The Studio 132:643', (1946), p. 279

Travel, Nature, Light, Change

“Nothing is known for certain, Isarda. All knowledge is illusion—purpose is a meaningless word, a mere sound, a reassuring fragment of melody in a cacophony of clashing chords. All is flux—matter is like these jewels. (She throws a handful of gleaming gems upon the golden surface; they scatter. When the last jewel has ceased to move, she looks up at him.) Sometimes they fall into a rough pattern, usually they do not. So as this moment, a pattern has been formed—you and I stand here speaking. But at any moment that which constitutes our beings may be scattered again.”

Michael Moorcock book Phoenix in Obsidian

Prologue (p. 321)
Phoenix in Obsidian (1970)

Knowledge

“If you want to know all about Andy Warhol, just look at the surface; of my paintings and films and me, and there I am. There's nothing behind it.”

Andy Warhol (1928–1987) American artist

1963 - 1967
Source: Andy, My true Story 3, Gretchen Berg, Los Angeles Free Press (17 March 1967); as quoted in Andy Warhol, retrospective, New York and Boston Museum of modern Art & Bullfinch Press / Little Brown, 1989, pp. 457 – 67

Painting

“If my character is flawed by a few minor faults, but is otherwise decent and moral, if you can point out only a few scattered blemishes on an otherwise immaculate surface, if no one can accuse me of greed, or of prurience, or of profligacy, if I live a virtuous life, free of defilement (pardon, for a moment, my self-praise), and if I am to my friends a good friend, my father deserves all the credit… As it is now, he deserves from me unstinting gratitude and praise. I could never be ashamed of such a father, nor do I feel any need, as many people do, to apologize for being a freedman's son.”
Atqui si vitiis mediocribus ac mea paucis mendosa est natura, alioqui recta, velut si egregio inspersos reprehendas corpore naevos, si neque avaritiam neque sordes nec mala lustra obiciet vere quisquam mihi, purus et insons, ut me collaudem, si et vivo carus amicis... at hoc nunc laus illi debetur et a me gratia maior. nil me paeniteat sanum patris huius, eoque non, ut magna dolo factum negat esse suo pars, quod non ingenuos habeat clarosque parentis, sic me defendam.

Horace book Satires

Book I, satire vi, lines 65–92
Satires (c. 35 BC and 30 BC)

Life, People, Feeling, Gratitude

“It is irrelevant in that ethnies arc constituted, not by lines of physical descent, but by the sense of continuity, shared memory and collective destiny, i. e. by lines of cultural affinity embodied in distinctive myths, memories, symbols and values retained by a given cultural unit of population. In that sense much has been retained, and revived, from the extant heritage of ancient Greece. For, even at the time of Slavic migrations, in Ionia and especially in Constantinople, there was a growing emphasis on the Greek language, on Greek philosophy and literature, and on classical models of thought and scholarship. Such a ‘Greek revival’ was to surface again in the tenth and fourteenth centuries, as well as subsequently, providing a powerful impetus to the sense of cultural affinity with ancient Greece and its classical heritage. This is not to deny for one moment either the enormous cultural changes undergone by the Greeks despite a surviving sense of common ethnicity or the cultural influence of surrounding peoples and civilizations over two thousand years. At the same time in terms of script and language, certain values, a particular environment and its nostalgia, continuous social interactions and a sense of religious and cultural difference, even exclusion, a sense of Greek identity and common sentiments of ethnicity can be said to have persisted”

Anthony D. Smith (1939–2016) British academic

Source: National Identity (1991), p. 30: About Ethnic Change, Dissolution and Survival

People, Literature, Sense, Nostalgia

“I met Sophie Taeuber in Zurich in 1915. Even then she already knew how to give direct and palpable shape to her inner reality. In those days this kind of art was called 'abstract art'. Now it is known as 'concrete art,' for nothing is more concrete than the psychic reality it expresses. Like music this art is tangible inner reality she was already dividing the surface of a watercolor into squares and rectangles which she juxtaposed horizontally and perpendicularly. She constructed her painting like a work of masonry. The colors are luminous, going from rawest yellow to deep red or…. blue.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Arp's quote on his wife, in 'Sophie Taeuber-Arp', Hans Arp; in Arp on Arp: Poems, Essays, Memories, ed. Marcel Jean, transl. Joachim Neugroschel; Viking Press, New York 1972, p. 222
1910-20s

Art, Music, Color, Reality

“Those who are skeptical about carbon dioxide greenhouse warming might profitably note the massive greenhouse effect on Venus. No one proposes that Venus's greenhouse effect derives from imprudent Venusians who burned too much coal, drove fuel-inefficient autos, and cut down their forests. My point is different. The climatological history of our planetary neighbor, an otherwise Earthlike planet on which the surface became hot enough to melt tin or lead, is worth considering — especially by those who say that the increasing greenhouse effect on Earth will be self-correcting, that we don't really have to worry about it, or (you can see this in the publications of some groups that call themselves conservative) that the greenhouse effect is a "hoax."”

Carl Sagan book Pale Blue Dot

Source: Pale Blue Dot: A Vision of the Human Future in Space (1994), p. 227

History

“Tis but a surface-view of human nature which gives the impression that the argument to immortality from our a priori powers leads to nothing more than bare continuance. What it really leads to, is the continuance of a being whose most intimate nature is found, not in the capacity of sensory life, but in the power of setting and appreciating values, through its still higher power of determining its ideals. For such a nature to continue, is to continue in the gradual development of all that makes for worth.”

George Holmes Howison (1834–1916) American philosopher

Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), Human Immortality: its Positive Argument, p.310

Life, Nature

“The film has written and spoken dialogue in twenty-five languages-English, French, Japanese, Mandarin, Cantonese, Vietnamese, Latin, Hebrew, necrotic Egyptian … and it has written calligraphic text on paper, wood, and flesh, on flat and curved surfaces, vertically and horizontally, on both living and dead flesh, in neon, on screens, in projection, as sub-title, inter-title, and sur-title, as High Art and low art, as advertisement and banker's check and registration plate, on photograph, on blackboard, as letter correspondence, as photocopy facsimile, and spoken, chanted, and sung, with and without music … a mocking challenge. You want text? Cinema wants text? Cinema pretends to eschew text? Then we can give you text to mock that smug suggestion that cinema thinks it is pictures.”

Peter Greenaway (1942) British film director

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

Art, Music, Thinking, Dead

“January, 14th, 1835: We came to anchor in the spacious bay of Santa Barbara. There was only one vessel in the port. Beside the vessel, there was no object to break the surface of the bay… directly opposite the anchoring ground, lie the mission and town of Santa Barbara, on a low plain, but little above the level of the sea, covered with grass, though entirely without trees, and surrounded on three sides by an amphitheater of mountains, which slant off to the distance of fifteen or twenty miles. The mission stands a little back of the town, and is a large building, or rather a collection of buildings, in the center of which is a high tower, with a belfry of five bells. The whole, being plastered, makes quite a show at a distance, and is the mark by which vessels come to anchor. The town lies a little nearer to the beach — about half a mile from it — and is composed of one-story houses built of sun-baked clay, or adobe, some of them whitewashed, with red tiles on the roof. I should judge that there was about a hundred of them… The town is finely situated, with a bay in front, and an amphitheater of hills behind.”

Richard Henry Dana Jr. book Two Years Before the Mast

Two Years Before the Mast (1840)

Lie, Mountain, Tree, Grass

“Glass… is not required for the collection of solar heat. The National Physical Laboratory of Israel… has perfected a highly polished metal surface coated with a molecular-thin black layer of special paint, which absorbs more than 90 percent sunlight. The polished metal radiates very little of the heat it receives. …A south-facing wall fitted out with these plates would really "drink in" solar heat, windows, or no windows.”

Ken Kern American writer

The Owner Built Home: A How-to-do-it Book (1972)

Drink, Painting, Perfection

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

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

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

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

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

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

Julio Cortázar (1914–1984) Argentinian writer

Historias de Cronopios y de Famas (1962)

Money, Family, Way, Feeling

“At present, I am particularly excited by 'bad taste'. I have the deep feeling that there exists in the very essence of bad taste a power capable of creating those things situated far beyond what is traditionally termed 'The Work of Art'. I wish to play with human feeling, with its 'morbidity' in a cold and ferocious manner. Only very recently I have become a sort of gravedigger of art (oddly enough, I am using the very terms of my enemies). Some of my latest works have been coffins and tombs. During the same time I succeeded in painting with fire, using particularly powerful and searing gas flames, some of them measuring three to four meters high. I use these to bathe the surface of the painting in such a way that it registered the spontaneous trace of fire.”

Yves Klein (1928–1962) French artist

Quote from Klein's 'Chelsea Hotel Manifesto', 1961; from the Yves Klein Archives - archived from the original on 15 January 2013; as cited on Wikipedia: Yves Klein
After the opening of his unsuccesful exhibition at Leo Castelli's Gallery, New York 1961, Klein stayed with Rotraut Uecker (fr) at the Chelsea Hotel for the duration of the exhibition. While there, he wrote the 'Chelsea Hotel Manifesto', a proclamation of the 'multiplicity of new possibilities'
1960 -1964

Art, Way, Feeling, Time

“The objection to the shiny, highly polished surface of albumen and gelatine papers is that, besides the fact that the surface reflects false and disturbing lights, the very polish and gloss has an artificial appearance which, from its very superfine character, irresistibly reminds us of its origin and nature.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Printing methods and their bearing on pictorial photography, p. 71

Nature, Light, Appearance, Falseness

“It is not the subject which matters but the translation of the subject into the abstraction of the surface by means of painting. Therefore I hardly need to abstract things, for each object is unreal enough already, so unreal that I can only make it real by means of painting.”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

Source: 1930s, On my Painting (1938), pp. 12-13

Painting

“I can imagine nothing more terrifying than an Eternity filled with men who were all the same. The only thing which has made life bearable…has been the diversity of creatures on the surface of the globe.”

T. H. White book The Book of Merlyn

The Book of Merlyn (1977)

Life, Men, Imagination

“I do not believe that anything really worthwhile will come out of the exploration of the slag heap that constitutes the surface of the moon…Nobody should imagine that the enormous financial budget of NASA implies that astronomy is now well supported.”

Fred Hoyle (1915–2001) British astronomer

Galaxies, Nuclei, and Quasars, Harper and Row, New York, 1965

Imagination, Support

“.. there comes a point when something catches on the canvas, something grips on the canvas. I don’t know what it is, you can put your paint on the surface? Most of the time it looks like paint, and who the hell wants paint on a surface? But there does come a time – you take it off, put it on, goes over here, moves over a foot, as you go closer you start moving in inches not feet, half-inches – there comes a point when the paint doesn't feel like paint. I don't know why. Some mysterious thing happens. I think you have all experienced it.... What counts is that the paint should really disappear, otherwise it's craft. That's what I mean by something grips in a canvas. The moment that happens you are then sucked into the whole thing. Like some kind of rhythm.”

Phillip Guston (1913–1980) American artist

Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, p. 67

Feeling, Hell, Thinking, Time

“One day work is hard, and another day it is easy; but if I had waited for inspiration I am afraid I should have done nothing. The miner does not sit at the top of the shaft waiting for the coal to come bubbling up to the surface. One must go deep down, and work out every vein carefully.”

Arthur Sullivan (1842–1900) English composer of the Gilbert & Sullivan duo

Untitled essay, reprinted in Arthur Lawrence Sir Arthur Sullivan: Life-story, Letters and Reminiscences (London: James Bowden, 1899) p. 225.

Waiting

“Among its [Boresko's] curiosities is a high rock, which overhangs a fearful precipice, whose bottom is just as much below the surface of the surrounding country as the summit of the rock is above the surface. From its summit the rock presents the most enchanting views that the country affords… The atmosphere exerts, however, a medical influence. While inhaling it, each person possesses in imagination whatever he desires at the moment: riches, health, power, or even a lady's love. The place is appropriately termed the pinnacle of hope. …Hither come …all persons who wish to cheat the present moment of its anguish by pleasant anticipations of the future. Occasionally, however, a peculiar madness seizes the visiters, and they jump from the delightful pinnacle into the abyss below, whose noxious vapours prostrate all the energies of life, and reverse all the reveries of hope.”

Alexander Bryan Johnson (1786–1867) United States philosopher and banker

The Philosophical Emperor, a Political Experiment, or, The Progress of a False Position: (1841)

Love, Life, Health, Fear

“The surface of things gives enjoyment, their interiority gives life.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Written note in Mondrian's sketchbook around 1911; quoted in Abstract Painting, Michel Seuphor, Dell Publishing Co.,1964, p. 11
1910's

Life

“In those days kitchen matches were heavy-duty implements—more like signal flares than the weedy sticks we get today. You could strike them on any hard surface and fling them at least fifteen feet and they wouldn’t go out. Indeed, even when being beaten vigorously with two hands, as when lodged on the front of one’s sweater, they seemed positively determined not to fail.”

Bill Bryson (1951) American author

Source: The Life And Times of the Thunderbolt Kid (2006), p. 170

“Just as he was an Elk, a Booster, and a member of the Chamber of Commerce, just as the priests of the Presbyterian Church determined his every religious belief and the senators who controlled the Republican Party decided in little smoky rooms in Washington what he should think about disarmament, tariff, and Germany, so did the large national advertisers fix the surface of his life, fix what he believed to be his individuality. These standard advertised wares—toothpastes, socks, tires, cameras, instantaneous hot-water heaters—were his symbols and proofs of excellence; at first sight the signs, then the substitutes, for joy and passion and wisdom.”

Sinclair Lewis book Babbitt

Babbitt (1922), Ch. 7

Life, Wisdom, Thinking, Water

“You can always tell an old battlefield where many men have lost their lives. The next spring the grass comes up greener and more luxuriant than on the surrounding countryside; the poppies are redder, the corn-flowers more blue. They grow over the field and down the sides of the shell holes and lean, almost touching, across the abandoned trenches in a mass of color that ripples all day in the direction that the wind blows. They take the pits and scars out of the torn land and make it a sweet, sloping surface again. Take a wood, now, or a ravine: In a year's time you could never guess the things which had taken place there.”

William March book Company K

Company K (1933)

Men, Color, Spring, Flowers

“God grant, that not only the Love of Liberty, but a thorough Knowledge of the Rights of Man, may pervade all the Nations of the Earth, so that a Philosopher may set his Foot anywhere on its Surface, and say, 'This is my Country.”

Benjamin Franklin (1706–1790) American author, printer, political theorist, politician, postmaster, scientist, inventor, civic activist, …

Letter to David Hartley (December 4, 1789); reported in Albert H. Smyth, ed., The Writings of Benjamin Franklin (1907), Volume 10, p. 72; often quoted as, "Where liberty dwells, there is my country".
Decade unclear

Love, God, Knowledge, Country

“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

“Then said the people to the prophet: “Shall not black hills draw round in some forsaken land, to make a vale-wide cauldron wherein the molten rock shall seethe and roar, and where the crags of mountains shall be hurled upward to the surface and bubble and go down again, that there our enemies may boil for ever?”
And the prophet answered: “It is writ large about the bases of Pegāna’s mountains, upon which sit the gods: ‘Thine Enemies Are Forgiven.’””

Lord Dunsany book The Gods of Pegāna

The Gods of Pegāna, Pegāna

God, People, Mountain, Drawing

“Voluptuaries, consumed by their senses, always begin by flinging themselves with a great display of frenzy into an abyss. But they survive, they come to the surface again. And they develop a routine of the abyss: “It’s four o’clock … At five I have my abyss.””

Colette (1873–1954) 1873-1954 French novelist: wrote Gigi

Le Pur et l'Impur (The Pure and the Impure) (1932)

Sense

“Thou hast evoked in me profounder spells than the evoking one, thou face! For me, thou hast uncovered one infinite, dumb, beseeching countenance of mystery, underlying all the surfaces of visible time and space.”

Herman Melville book Pierre: or, The Ambiguities

Bk. III, ch. 1
Pierre: or, The Ambiguities (1852)

Time

“Nothing is so discreet as a young face, for nothing is less mobile; it has the serenity, the surface smoothness, and the freshness of a lake. There is no character in women’s faces before the age of thirty.”

Honoré de Balzac book A Woman of Thirty

Rien n'est-il si discret qu'un jeune visage, parce que rien n'est plus immobile. La figure d'une jeune femme a le calme, le poli, la fraîcheur de la surface d'un lac. La physionomie des femmes ne commence qu'à trente ans.
Source: A Woman of Thirty (1842), Ch. VI: The Old Age of a Guilty Mother

Women, Age

“The growth and maintenance of new synaptic terminals makes memory persist. …The ability to grow new synaptic connections as a result of experience appears to have been conserved throughout evolution. As an example… the cortical maps of the body surface are subject to constant modification in response to changing input from sensory pathways.”

Eric R. Kandel (1929) American neuropsychiatrist

In Search of Memory (2006)

Appearance, Memory, Change

“Fruit trees in this world are ancient and exhausted sticks coming out of poor soil; the people of the village are worn down to their skulls, caricatures of some ultimate grotesque typology of basic human feature types. How is it, then, that in Van Gogh such things as apple trees explode into a hallucinatory surface of color, while his village stereotypes are suddenly and garishly overlaid with hues of red and green?”

Fredric Jameson (1934) American academic

Source: Postmodernism: Or, The Cultural Logic of Late Capitalism (1991), Chapter 1: The Cultural Logic of Late Capitalism

People, World, Color, Tree

“There is always more surface to a shattered object than a whole.”

Djuna Barnes (1892–1982) American Modernist writer, poet and artist

In a letter to Emily Coleman, as quoted in The Book of Repulsive Women and Other Poems : Selected Poems (2003), edited by Rebecca Loncraine, p. xi

“Archytas of Tarentum found the two mean proportionals by a very striking construction in three dimensions, which shows that solid geometry, in the hands of Archytas at least, was already well advanced. The construction was usually called mechanical, which it no doubt was in form, though in reality it was in the highest degree theoretical. It consisted in determining a point in space as the intersection of three surfaces: (a) a cylinder, (b) a cone, (c) an "anchor-ring" with internal radius = 0.”

Thomas Little Heath (1861–1940) British civil servant and academic

Achimedes (1920)

Reality

“The economic prerequisites for the socialist revolution are fully matured in the US. The political premises are likewise far more advanced than might appear on the surface.”

James P. Cannon (1890–1974) American politician

Theses on the American Revolution

Appearance

“It seems to me that we are charcoal ready to be kindled and that Holy Communion is entirely suited to set us on fire. But when this charcoal is kindled only on the surface, as soon as it is set aside, it is extinguished. On the contrary, that which is fired all the way to the centre is not extinguished, but is consumed.”

Marguerite Bourgeoys (1620–1700) French colonist and foundress

The Writings of Marguerite Bourgeoys, p. 204

Way

“Nothing was said. And on crawled the little procession in the direction of Summerhouses, men and animals, men-animals, five souls. The pale red sun grazed the surface of the moorland bluffs on this northern winter's morning which was really only an evening. And yet it was midday. The light gilded the clouds of snow flying over the moors so that they seemed one unbroken ocean of fire, one radiant fire of gold with streaming flames and glimmering smoke from east to west over the whole frozen expanse. Through this golden fire of frost, comparable in its magic to nothing but the most powerful and elaborate witchcraft of the Ballads, lay their homeward way.”

Halldór Laxness (1902–1998) Icelandic author

Sjálfstætt fólk (Independent People) (1935), Book One, Part I: Icelandic Pioneers

Men, Way, Soul, Light

“As far as the surface is concerned – oil on canvas, conventionally applied – my pictures have little to do with the original photograph. They are totally painting (whatever that may mean). On the other hand, they are so like the photograph that the thing that distinguished the photograph from all other pictures remains intact.”

Gerhard Richter (1932) German visual artist, born 1932

Notes, 1964-65; as cited on collected quotes on the website of Gerhard Richter: on 'Photo-paintings' https://www.gerhard-richter.com/en/quotes/subjects-2/photo-paintings-12 1960's

Painting

“The amount of racism, sexism, homophobia, and hatred in general that lies beneath the surface of the American dream is astounding and serious.”

Margaret Cho (1968) American stand-up comedian

From Her Books, I Have Chosen To Stay And Fight, RACISM AND CIVIL RIGHTS

Dreams

“ People who think of themselves as tough-minded and realistic, among them influential political leaders and businessmen as well as go-getters and hustlers of smaller caliber, tend to take it for granted that human nature is selfish and that life is a struggle in which only the fittest may survive. According to this philosophy, the basic law by which man must live, in spite of his surface veneer of civilization, is the law of the jungle. The "fittest" are those who can bring to the struggle superior force, superior cunning, and superior ruthlessness. ”

S. I. Hayakawa book Language in Thought and Action

Source: Language in Thought and Action (1949), What Animals Shall We Imitate?, p. 8

Life, People, Law, Nature

“It is possible, in Iran, Greece, North Africa, USA, Mexico, Pakistan, and Australia to see how, in our short history of life destruction, we have brought the hard bones of the earth to the surface by stripping the life skin from it for ephemeral uses. We can, if we persist, create a moon-landscape of the earth. So poor goatherds wander where the lake-forests stood and the forest deities were worshipped. The religions of resignation and fanaticism follow those of the nature gods, and man-built temples replace trees and tree spirits.”

Bill Mollison (1928–2016) Australian permaculturist

Source: Permaculture: A Designers' Manual (1988), chapter 8.20

Life, God, Religion, History

“The study of rhetoric distiguishes between tropes, or figuresvof meaning such as metaphor and metonymy, and schemes, or surface patterns of words. Poetry is a matter of trope; and verse, of scheme or design.”

John Hollander (1929–2013) American poet

Study

“If you want to know all about Andy Warhol, just look at the surface; of my paintings and films and me, and there I am. There's nothing behind it... I see everything that way, the surface of things, a kind of mental Braille. I just pass my hands over the surface of things.”

Andy Warhol (1928–1987) American artist

1973
1968 - 1974, Electric chair quote
Source: Warhol in his own words – Untitled Statements ( 1963 – 1987), selected by Neil Printz; as quoted in Andy Warhol, retrospective, Art and Bullfinch Press / Little Brown, 1989, pp. 457 – 467

Way, Painting

“As I watched, I could see her bow getting deeper and deeper in the water with the foremast sticking up above the surface whilst her stern lifted higher and higher, till it was right out of the water.”

Charles Lightoller (1874–1952) British sailor

Interview with the nickaloadian, 1936

Water

“In the early geological ages, when the Alps were low and the Himalayas not yet upheaved… from geological evidence of fossil and fauna, we find that an equitable climate and uniform climate prevailed over the whole surface of the globe. It is now conclusively proved that before the advent of glacial and inter-glacial periods a luxurious forest vegetation… flourished in the high latitude of the polar regions where the Sun goes below the horizon from November till March, thus showing that a warm climate prevailed in the Arctic regions in those days”

Bal Gangadhar Tilak (1856–1920) Indian independence activist

[Ashok Pant, The Truth of Babri Mosque, http://books.google.com/books?id=39tW7k_0MI4C&pg=PA15, August 2012, iUniverse, 978-1-4759-4289-7, 55]

Age, Sun

“Riemann has shewn that as there are different kinds of lines and surfaces, so there are different kinds of space of three dimensions; and that we can only find out by experience to which of these kinds the space in which we live belongs. In particular, the axioms of plane geometry are true within the limits of experiment on the surface of a sheet of paper, and yet we know that the sheet is really covered with a number of small ridges and furrows, upon which (the total curvature not being zero) these axioms are not true. Similarly, he says although the axioms of solid geometry are true within the limits of experiment for finite portions of our space, yet we have no reason to conclude that they are true for very small portions; and if any help can be got thereby for the explanation of physical phenomena, we may have reason to conclude that they are not true for very small portions of space.”

William Kingdon Clifford On the Space-Theory of Matter

Abstract
On the Space-Theory of Matter (read Feb 21, 1870)

Help

“I find that I would like now, best of all, to be a good conversationalist. I know I'm not one at present. Oh, I can sit and talk a little of this and that, but I realize that I haven't any definite or profound knowledge. I won't be satisfied with just a patter, a surface glaze of information. I don't want short-cuts to learning. I want to know all about the thing I study.
I'd like to be able to hold my own, to meet on a common ground, with scientists, inventors, clerics, doctors, athletes, authors.
The most worthwhile thing in life is to store your mind with knowledge.
I wish now that I had been able to go to college, if only so that I might have had appreciations earlier in the game.
People often say to me now that I have my home, my career, fame (if you call it that), there must be nothing left for me to live for. But there is everything left to live for. All the things I don't know about, all the things I want to know about.
Pictures, I've discovered, were practically all I did know about up to very recently. I've had to work so hard, to concentrate so closely, that I never have had time to read or to travel or to think about other things. I'm just at the beginning of living…”

Harold Lloyd (1893–1971) American film actor and producer

"Discoveries About Myself". Motion Picture, October 1930, pg. 58 & 90. (Brewster Publications). https://archive.org/stream/motionpicture1923040chic#page/n563/mode/2up https://archive.org/stream/motionpicture1923040chic#page/n595/mode/2up

Life, People, Travel, Home

“To drink pure water from a shallow pond one should gently take the water from the surface without disturbing the pond in the least. If it is disturbed, the sediments rise up and make the whole water muddy. If you desire to be pure, have firm faith, and slowly go on with your devotional practices, without wasting your energy in useless scriptural discussions and arguments. Your little brain will otherwise be muddled.”

Ramakrishna (1836–1886) Indian mystic and religious preacher

Source: Sayings of Sri Ramakrishna (1960), p. 580

Faith, Drink, Water

“From behind the Iron Curtain, there are signs that tyranny is in trouble and reminders that its structure is as brittle as its surface is hard.”

Dwight D. Eisenhower (1890–1969) American general and politician, 34th president of the United States (in office from 1953 to 1961)

State of the Union Address to Congress http://www.eisenhower.archives.gov/avwebsite/PDF/54text.pdf (7 January 1954) 1950s

“I want to take as the canvas for my next picture the entire surface of France. This picture will be called 'The Blue Revolution'. It isn’t the fact of my taking power in France that interests me, but rather the possibility of creating a monochrome picture in my new manner: ‘The Refinement of Sensibility’.”

Yves Klein (1928–1962) French artist

In 1958; p. 43
before 1960, "Yves Klein, 1928 – 1962, Selected Writings"

“I consider an human soul without education like marble in the quarry, which shews none of its inherent beauties till the skill of the polisher fetches out the colours, makes the surface shine, and discovers every ornamental cloud, spot and vein that runs through the body of it.”

Joseph Addison (1672–1719) politician, writer and playwright

No. 215 (6 November 1711).
The Spectator (1711–1714)

Education, Beauty, Soul

“The surfaces of three-dimensional space are distinguished from each other not only by their curvature but also by certain more general properties. A spherical surface, for instance, differs from a plane not only by its roundness but also by its finiteness. Finiteness is a holistic property. The sphere as a whole has a character different from that of a plane. A spherical surface made from rubber, such as a balloon, can be twisted so that its geometry changes…. but it cannot be distorted in such a way as that it will cover a plane. All surfaces obtained by distortion of the rubber sphere possess the same holistic properties; they are closed and finite. The plane as a whole has the property of being open; its straight lines are not closed. This feature is mathematically expressed as follows. Every surface can be mapped upon another one by the coordination of each point of one surface to a point of the other surface, as illustrated by the projection of a shadow picture by light rays. For surfaces with the same holistic properties it is possible to carry through this transformation uniquely and continuously in all points. Uniquely means: one and only one point of one surface corresponds to a given point of the other surface, and vice versa. Continuously means: neighborhood relations in infinitesimal domains are preserved; no tearing of the surface or shifting of relative positions of points occur at any place. For surfaces with different holistic properties, such a transformation can be carried through locally, but there is no single transformation for the whole surface.”

Hans Reichenbach (1891–1953) American philosopher

The Philosophy of Space and Time (1928, tr. 1957)

Way, Mathematics, Tear, Light

“How marvellously lie our anxieties, in filmy layers, one over the other! Take away that which has lain on the upper surface for so long – the care of cares – the only one, as it seemed to you, between your soul and the radiance of Heaven – and straight you find a new stratum there.”

J. Sheridan Le Fanu book Uncle Silas

Source: Uncle Silas (1864), Ch. 53

Lie, Soul

“If you throw a stone into a lake, it makes waves on the surface. Eventually the waves disappear, but just because you can longer see them does not mean that they are really gone. They have just become too small for us to see them. In the same way, we calm our mind by half, half, half… and the waves of the mind become infinitely calm. They never actually stop.”

Koichi Tohei (1920–2011) Japanese aikidoka

46
Ki Sayings (2003)

Way

“It is a magnificent country, lonely, grand in scale, stretching for mile upon mile, the clear blue air stabbed with peaks of snow, where the sun glints on the ice surfaces, green as sea ice, breath taking in its scope.”

Judy LaMarsh (1924–1980) Canadian politician, writer, broadcaster and barrister.

Source: Memoirs Of A Bird In A Gilded Cage (1969), CHAPTER 8, Centennial summer, p. 196 (On Canada...)

Sun, Sea, Country

“We are in the process of creating what deserves to be called the idiot culture. Not an idiot sub-culture, which every society has bubbling beneath the surface and which can provide harmless fun; but the culture itself. For the first time, the weird and the stupid and the coarse are becoming our cultural norm, even our cultural ideal.”

Carl Bernstein (1944) American journalist

An A-Z of cultural terms, The Guardian (1992)

Stupidity, Time

“Blade Runner is a rare science fiction movie so full of material that pages can be written about it without scratching the surface. A review like this can provide little more than an overview. A detailed exploration of the movie, its style, and its mysteries requires dedication that only someone immersed in Blade Runner lore can provide.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/php_review_template.php?identifier=357 of Blade Runner (1982). Three-and-a-half star reviews

Science

“Replacing particles by strings is a naive-sounding step, from which many other things follow. In fact, replacing Feynman graphs by Riemann surfaces has numerous consequences: 1. It eliminates the infinities from the theory. …2. It greatly reduces the number of possible theories. …3. It gives the first hint that string theory will change our notions of spacetime. Just as in QCD, so also in gravity, many of the interesting questions cannot be answered in perturbation theory. In string theory, to understand the nature of the Big Bang, or the quantum fate of a black hole, or the nature of the vacuum state that determines the properties of the elementary particles, requires information beyond perturbation theory… Perturbation theory is not everything. It is just the way the [string] theory was discovered.”

Edward Witten (1951) American theoretical physicist

"The Past and Future of String Theory" in The Future of Theoretical Physics and Cosmology: Celebrating Stephen Hawking's Contributions to Physics (2003) ed. G.W. Gibbons, E.P.S. Shellard & S.J. Rankin

Fate, Way, Understanding, Question

“You know, the relationships we 'ave, everything sort of bubbles under the surface. No one ever says what they actually mean, do they? It's all a bit pappy and rubbish.”

Russell Brand (1975) British comedian, actor, and author

Episode 1 - Dad Fight
RE:Brand (2002)

“The problem inherent in the surface of things, and only in the surface of things, is the heart of things.”

Leo Strauss book Thoughts on Machiavelli

Source: Thoughts on Machiavelli (1958), p. 13

Problem, Heart

“I wanted work that didn't involve incredible assumptions about everything. I couldn't begin to think about the order of the universe or, the nature of American society. I didn't want work that was general or universal in the usual sense. I didn't want it to claim too much. Obviously the means and the structure couldn't be separate and couldn't even be thought of as two things joined. Neither word meant anything. A shape, a volume, a color, a surface is something itself. It shouldn't be concealed as part of a fairly different whole. The shapes and materials shouldn't be altered by their context.”

Donald Judd (1928–1994) artist

Donald Judd (1967), in: Perspecta 11 (1967), p. 44; Quoted in: James Fitzsimmons (1979) Art International. Vol 23. p. 69
1960s

Color, Nature, Thinking, Sense

“The philosophy which underlines my work is based on change, continuity and the search for measures in natural order. The value of a sculpture relies on its own existence through time, independent of its creator and should usually speak for itself. It should beckon you to walk into its space, to travel its surface and edge, to sense, to touch, to peer into and ponder. As you leave it should invite you to return another time so that it can communicate further.”

Fred Conlon (1943–2005) Irish sculptor

citation needed
Attributed

Travel, Search, Communication, Nature

“If ever, in the British Islands, the useful citizen should lose these virtues, we may be sure, that for England as well as for any other country, notwithstanding the protection of the most formidable navy, notwithstanding the foresight and activity of diplomacy the most extended, and of political science the most profound, the vessels of a degenerate commerce, repulsed from every shore would speedily disappear from those seas whose surface they now cover with the treasures of the universe, bartered for the treasures of the industry of the three kingdoms.”

Charles Dupin (1784–1873) French mathematician

Source: The Commercial Power of Great Britain, 1925, p. xxxi; cited in: The Westminster Review https://books.google.nl/books?id=ByA6AQAAMAAJ&pg=PA339, Volume 4. Oct 1825. p. 340

Universe, Science, Sea, Country

“No man but feels more of a man in the world if he have a bit of ground that he can call his own. However small it is on the surface, it is four thousand miles deep; and that is a very handsome property.”

Charles Dudley Warner (1829–1900) American writer

Preliminary.
My Summer in a Garden (1870)

World, Feeling

“Land, n. A part of the earth's surface, considered as property. The theory that land is property subject to private ownership and control is the foundation of modern society, and is eminently worthy of the superstructure. Carried to its logical conclusion, it means that some have the right to prevent others from living; for the right to own implies the right exclusively to occupy; and in fact laws of trespass are enacted wherever property in land is recognized. It follows that if the whole area of terra firma is owned by A, B and C, there will be no place for D, E, F and G to be born, or, born as trespassers, to exist.”

Ambrose Bierce book The Devil's Dictionary

The Devil's Dictionary (1911)

Law, Parting

“Learning and wisdom are superfluities, the surface glitter merely, but it is the heart that is the seat of all power.”

Swami Vivekananda (1863–1902) Indian Hindu monk and phylosopher

Pearls of Wisdom

Wisdom, Learning, Heart

“A river is nearly the ultimate symbol for the very essence of change itself. It flows unceasing from one point of being to another, yet continuously occupies the same bed or pathway, and accommodates life’s endings with the same musical grace with which it accommodates life’s beginnings, along with all the muted and explosive moments that surface between the two extremes.”

Aberjhani (1957) author

(Evolution of a Vision: from Songs of the Angelic Gaze to The River of Winged Dreams, p. 3).
Book Sources, The River of Winged Dreams (2010)

Life, Music, Change

“I think so many of the objects we're surrounded by seem trivial. And I think that's because they're either trying to make a statement or trying to be overtly different. What we were trying to do was have a very honest approach and an exploration of materials and surface treatment. So much of what we try to do is get to a point where the solution seems inevitable: you know, you think "of course it's that way, why would it be any other way?"”

Jonathan Ive (1967) English designer and VP of Design at Apple

It looks so obvious, but that sense of inevitability in the solution is really hard to achieve.
In an interview in Icon Magazine (July 2003)

Way, Thinking, Sense

“Life is, without a doubt, complex and confusing. My faith is my sanity. There are people who choose to live on the surface of things. I have yet to find the surface. And with all the beauty in the underneath, I am not certain I want to live on the surface should I find it. I stopped looking a long time ago.”

Donald Miller (1971) American writer

Prayer and the Art of Volkswagen Maintenance (2000, Harvest House Publishers)

Life, People, Faith, Beauty

“Many distinguishing features of the surface may often be ascribed to the operation at a remote era of slow and tranquil causes-to the gradual deposition of sediment in a lake or in the ocean, or to the prolific increase of testacea and corals therein.”

Charles Lyell book Principles of Geology

Chpt.1, p. 2
Principles of Geology (1832), Vol. 1

“Studied in the dry light of conservative Christian anarchy, Russia became luminous like the salt of radium; but with a negative luminosity as though she were a substance whose energies had been sucked out — an inert residuum — with movement of pure inertia. From the car window one seemed to float past undulations of nomad life — herders deserted by their leaders and herds — wandering waves stopped in their wanderings — waiting for their winds or warriors to return and lead them westward; tribes that had camped, like Khirgis, for the season, and had lost the means of motion without acquiring the habit of permanence. They waited and suffered. As they stood they were out of place, and could never have been normal. Their country acted as a sink of energy like the Caspian Sea, and its surface kept the uniformity of ice and snow. One Russian peasant kissing an ikon on a saint's day, in the Kremlin, served for a hundred million. The student had no need to study Wallace, or re-read Tolstoy or Tourguenieff or Dostoiewski to refresh his memory of the most poignant analysis of human inertia ever put in words; Gorky was more than enough: Kropotkine answered every purpose.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

The Education of Henry Adams (1907)

Life, Cars, Kiss, Study

“I lay under the buckthorn tree. My soul was enchanted. I looked up through its leaves. The sun was coloring them a briljant yellow. They stood out from their delicate red stems, laughing at the sky.
And the sky was deep blue with one small cloud. And the blue was a glorious contrast to the yellow of the leaves. And the wind came and played with them, turning them over so that I could see their shiny upper surfaces. And the wind came down to me, too, bringing me armfuls of sweet fragrance.
The buckthorn was in blossom and that was the prettiest thing about it. Its scenty filled the soft air and covered me in a dream, tenderly, ans sang to my soul a tale of times before I ever was, and of times when I shall be no more..”

Paula Modersohn-Becker (1876–1907) German artist

from her Journal, in Lilleon, June 1898; as quoted in Paula Modersohn-Becker – The Letters and Journals, ed: Günther Busch & Lotten von Reinken; (transl, A. Wensinger & C. Hoey; Taplinger); Publishing Company, New York, 1983, p. 105
1898

Dreams, Color, Soul, Tree

“Our planet, the Earth, is, as far as we know, unique in the universe. It contains life. Even in its most barren stretches, there are animals. Around the equator, where those two essentials for life, sunshine and moisture, are most abundant, great forests grow. And here plants and animals proliferate in such numbers that we still have not even named all the different species. Here, animals and plants, insects and birds, mammals and man live together in intimate and complex communities, each dependent on one another. Two thirds of the surface of this unique planet are covered by water, and it was here indeed that life began. From the oceans, it has spread even to the summits of the highest mountains as animals and plants have responded to the changing face of the Earth.”

David Attenborough (1926) British broadcaster and naturalist

Opening narration
The Living Planet (1984)

Life, Mountain, Communication, Bird

“Vertically striped sheets of paper, the bands of which are 8.7 cms wide, alternate white and colored, are stuck over internal and external surfaces: walls, fences, display windows, etc.; and/or cloth/canvas support, vertical stripes, white and colored bands each 8.7 cms, the two ends covered with dull white paint.
I record that this is my work for the last four years, without any evolution or way out. This is the past: it does not imply either that it will be the same for another ten or fifteen years or that it will change tomorrow.
The perspective we are beginning to have, thanks to these past four years, allows a few considerations of the direct and indirect implications for the very conception of art. This apparent break (no research, or any formal evolution for four years) offers a platform that we shall situate at zero level, when the observations both internal (conceptual transformation as regards the action/praxis of a similar form) and external (work/production presented by others) are numerous and rendered all the easier as they are not invested in the various surrounding movements, but are rather derived from their absence.”

Daniel Buren (1938) sculptor from France

" Beware!" ("Mise en garde!") http://web.mit.edu/allanmc/www/buren1.pdf, in Konzeption/Conception, translated by Charles Harrison and Peter Townsend (Leverkusen: Stadtischer Museum, 1969. 1960s

Art, Color, Way, Support