Quotes about surface
page 6

“Spherical space is not very easy to imagine. We have to think of the properties of the surface of a sphere—the two-dimensional case—and try to conceive something similar applied to three-dimensional space. Stationing ourselves at a point let us draw a series of spheres of successively greater radii. The surface of a sphere of radius r should be proportional to r2; but in spherical space the areas of the more distant spheres begin to fall below the proper proportion. There is not so much room out there as we expected to find. Ultimately we reach a sphere of biggest possible area, and beyond it the areas begin to decrease. The last sphere of all shrinks to a point—our antipodes. Is there nothing beyond this? Is there a kind of boundary there? There is nothing beyond and yet there is no boundary. On the earth's surface there is nothing beyond our own antipodes but there is no boundary there.”

Arthur Stanley Eddington (1882–1944) British astrophysicist

p, 125
Space, Time and Gravitation (1920)

Imagination, Thinking, Distant, Success

“And if God does not help me to go on, then I shall have to help God. — The surface of the earth is gradually turning into one great prison camp, and soon there will be nobody left outside. … I don't fool myself about the real state of affairs, and I've even dropped the pretense that I'm out to help others. I shall merely try to help God as best I can, and if I succeed in doing that, then I shall be of use to others as well. But I mustn't have heroic illusions about that either.”

Etty Hillesum (1914–1943) Jewish diarist

11 July 1942, p. 484-85
Etty: The Letters and Diaries of Etty Hillesum, 1941-1943

God, Fools, Help

“And thus the easy argument of exhibiting the least conditions sufficient for experience, so like a simpleton in its seeming clutch at the thin surface of things, carries in its subtle heart the proof of an imperishable persistence in all that gives life meaning and value.”

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.312

Life, Heart

“Let none think that there is no more knowledge for them to gain. The depth of human intellect may be measured; the works of human authors may be mastered; but the highest, deepest, broadest flight of the imagination cannot find out God. There is infinity beyond all that we can comprehend. We have seen only the glimmering of divine glory and of the infinitude of knowledge and wisdom; we have, as it were, been working on the surface of the mine, when rich golden ore is beneath the surface, to reward the one who will dig for it.”

Ellen G. White book Christ's Object Lessons

Source: Christ's Object Lessons (1900), Ch. 8, p. 114

Wisdom, God, Imagination, Knowledge

“[W]hereas Nature, in propriety of Speech, doth not admit more than Three (Local) Dimensions, (Length, Breadth and Thickness, in Lines, Surfaces and Solids;) it may justly seem improper to talk of a Solid (of three Dimensions) drawn into a Fourth, Fifth, Sixth, or further Dimension.
A Line drawn into a Line, shall make a Plane or Surface; this drawn into a Line, shall make a Solid. But if this Solid be drawn into a Line, or this Plane into a Plane, what shall it make? A Plano-plane? This is a Monster in Nature, and less possible than a Chimera or a Centaure. For Length, Breadth and Thickness, take up the whole of Space.”

John Wallis (1616–1703) English mathematician

Nor can our Fansie imagine how there should be a Fourth Local Dimension beyond these Three.
Treatise of Algebra (1685)

Imagination, Nature

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

John Brunner book The Sheep Look Up

March “RIPOSTE”
The Sheep Look Up (1972)

Fish, Sea, Night

“Our civilization has essentially globalized only the surfaces of our lives. But our inner self continues to have a life of its own. And the fewer answers the era of rational knowledge provides to the basic questions of human Being, the more deeply it would seem that people, behind its back as it were, cling to the ancient certainties of their tribe. Because of this, individual cultures, increasingly lumped together by contemporary civilization, are realizing with new urgency their own inner autonomy and the inner differences of others.”

Václav Havel (1936–2011) playwright, essayist, poet, dissident and 1st President of the Czech Republic

The Need for Transcendence in the Postmodern World (1994)

Life, People, Question, Knowledge

“Physics has entered a remarkable era. Ideas that were once the realm of science fiction are now entering our theoretical — and maybe even experimental — grasp. Brand-new theoretical discoveries about extra dimensions have irreversibly changed how particle physicists, astrophysicists, and cosmologists now think about the world. The sheer number and pace of discoveries tells us that we've most likely only scratched the surface of the wondrous possibilities that lie in store. Ideas have taken on a life of their own.”

Lisa Randall (1962) American theoretical physicist and an expert on particle physics and cosmology

Source: Warped Passages: Unraveling the Universe's Hidden Dimensions (2005), Ch. 24.

Life, Lie, World, Idea

“Short of climbing aboard a time capsule and peeling back eight and one-half decades, James Cameron's magnificent Titanic is the closest any of us will get to walking the decks of the doomed ocean liner. Meticulous in detail, yet vast in scope and intent, Titanic is the kind of epic motion picture event that has become a rarity. You don't just watch Titanic, you experience it — from the launch to the sinking, then on a journey two and one-half miles below the surface, into the cold, watery grave where Cameron has shot never-before seen documentary footage specifically for this movie.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/movies/t/titanic.html of Titanic (1997). Four star reviews

Time

“Gleizes was only trying to reduce the curvature of natural volumes to adapt them more naturally and rigorously to the surface of the painting, a surface which he believed to be continuous with the wall and, for all practical purposes, with no curvature at all.”

Jean Metzinger (1883–1956) French painter

Cubism was born

Nature, Painting

“I still, when I judge my own pictures (either while I'm working or after I think it's finished) determine if they work in a certain kind of space through shape or color. I think all totally abstract pictures – the best ones that really come off – Newman, Pollock, Noland – have tremendous space; perspective space despite the emphasis on flat surface. For example, in Noland a band of yellow in relation to a band of blue and one of orange can move in depth although they are married to the surface. This has become a familiar explanation, but few people really see and feel it that way.... in my work, because of color and shape a lot is read in the landscape sense..”

Helen Frankenthaler (1928–2011) American artist

Source: 1960s, Interview with Henry Geldzahler', in 'Artforum', 1965, p. 37

People, Color, Way, Feeling

“Among flower vases, the ware that is given the highest rank is old Iga, from the sixteenth and seventeenth centuries, and it commands the highest price. When old Iga has been dampened, its colors and its glow take on a beauty such as to awaken on afresh. Iga was fired at very high temperatures. The straw ash and the smoke from the fuel fell and flowed against the surface, and as the temperature dropped, became a sort of glaze. Because the colors were not fabricated but were rather the result of nature at work in the kiln, color patterns emerged in such varieties as to be called quirks and freaks of the kiln. The rough, austere, strong surfaces of old Iga take on a voluptuous glow when dampened. It breathes to the rhythm of the dew of the flowers.”

Yasunari Kawabata (1899–1972) Japanese author, Nobel Prize winner

Japan, the Beautiful and Myself (1969)

Beauty, Color, Flowers, Nature

“When we look at the Anthropogenic Global Warming argument, it seems on the surface that we are completely full of ourselves and yet at the same time terribly dubious, sometimes completely without hope, and utterly given to embracing our own fallibility as a cause célèbre. We show no faith in ourselves by accepting this idea that we’ve caused Global Warming and still none in the idea that we can stop it. These are hollow beliefs put forth to enrich the power of the few whom offer us the way to salvation.”

Anthony Watts (1958) American television meteorologist

The adapability of man to his climate http://wattsupwiththat.com/2007/04/07/the-adapability-of-man-to-his-climate/, wattsupwiththat.com, April 7, 2007. 2007

Faith, Hope, Way, Idea

“Both of them have seen many young Western men arrive here on business missions and completely lose control of their sphincters and become impediments to any kind of organized activity. Daily hired Wall because, like Daily, he is a stable family man who has his act together…and they seem to be making excellent progress toward their goal, which is to run two really expensive wires across the Malay Peninsula. They tend to be absolutely straight shooters…. Their openness would probably be career suicide in the atmosphere of Byzantine court-eunuch intrigue that is public life in the United States today. On the other hand, if I had an unlimited amount of money and woke up tomorrow morning with a burning desire to see a 2,000-hole golf course erected on the surface of Mars, I would probably call men like Daily and Wall, do a handshake deal with them, send them a blank check, and not worry about it.”

Neal Stephenson (1959) American science fiction writer

"Mother Earth Mother Board," cover story in Wired, 4.12 (1996)

Life, Men, Money, Family

“Political scientists have long relied on organization theory as their foundation for understanding public bureaucracy. This approach makes good sense, but so far the payoffs have been rather limited. The surface problem is that organization theory, as the creature of sociologists, social psychologists, and, in more recent years, economists, has developed around explanatory concerns having little or nothing to do with government. The more fundamental problem is that political scientists have allowed this to happen by largely abandoning the field of organizations.”

Terry M. Moe (1949) American political scientist

Terry M. Moe, "Toward a Theory of Public Bureaucracy." Oliver E. Williamson ed. Organization theory: From Chester Barnard to the present and beyond (1995): 116.

Understanding, Problem, Sense

“The make-up sat on the surface of my skin like scrambled egg.”

Maureen Lipman (1946) British actress, columnist and comedienne

Something to Fall Back on

“It seems to me that in understanding MOND and its fundamentals we have only scratched the surface. If the developments of quantum mechanics and relativity are any lesson here, departures of such magnitude from long- and well-tested physics may bring with them completely new concepts, not summarized by mere modifications of the governing actions or the equations of motion. MOND may also turn out to bring in concepts that are presently beyond our ken”

Mordehai Milgrom (1946) Israeli physicist

as hinted perhaps by the cosmological connotations of a0 MOND Theory, p. 5, Mordehai Milgrom, 30 Apr 2014, updated 31 Aug 2014 http://arxiv.org/abs/1404.7661,

Departure, Understanding

“Even in the Capitol, there’s nothing to match the magnificence of this old building. But there is no give to the surface—only my flesh yields, my warmth taken. Stone conquers people every time.”

Suzanne Collins (1962) American television writer and novelist

Katniss (p. 209)
The Hunger Games trilogy, Mockingjay (2010)

People, Time

“…the stereographic projection of the spherical surface. From the north pole P we draw radial lines to project every point of the surface of the sphere upon the horizontal plane [below, perpendicular to a line joining it to P and the sphere's center]. In general this transformation is unique and continuous, although the metrical relations are distorted; for the point P, however, it shows a singularity. Point P is mapped upon the infinite; i. e., no finitely located point of the plane corresponds to it. It can be shown that every transformation possesses a singularity in at least one point. The surface of the sphere is therefore called topologically different from the plane. Only a "sphere without a north pole" [point] would be topologically equivalent to a plane. …such a sphere has a point-shaped hole without a boundary and is no longer a closed surface.”

Hans Reichenbach (1891–1953) American philosopher

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

Drawing

“People resent being shown that they don't approach the complexities of the problem — they don't know what exists beyond the surface ripples.”

Daniel Keyes book Flowers for Algernon

Flowers for Algernon (1966)

People, Problem

“The fall of the patriciate by no means divested the Roman commonwealth of its aristocratic character. We have already indicated that the plebeian party carried within it that character from the first as well as, and in some sense still more decidedly than, the patriciate; for, while in the old body of burgesses an absolute equality of rights prevailed, the new constitution set out from a distinction between the senatorial houses who were privileged in point of burgess rights and of burgess usufructs, and the mass of the other citizens. Immediately, therefore, on the abolition of the patriciate and the formal establishment of civic equality, a new aristocracy and a corresponding opposition were formed; and we have already shown how the former engrafted itself as it were on the fallen patriciate, and how, accordingly, the first movements of the new party of progress were mixed up with the last movements of the old opposition between the orders. The formation of these new parties began in the fifth century, but they assumed their definite shape only in the century which followed. The development of this internal change is, as it were, drowned amidst the noise of the great wars and victories, and not merely so, but the process of formation is in this case more withdrawn from view than any other in Roman history. Like a crust of ice gathering imperceptibly over the surface of a stream and imperceptibly confining it more and more, this new Roman aristocracy silently arose; and not less imperceptibly, like the current concealing itself beneath and slowly extending, there arose in opposition to it the new party of progress. It is very difficult to sum up in a general historical view the several, individually insignificant, traces of these two antagonistic movements, which do not for the present yield their historical product in any distinct actual catastrophe. But the freedom hitherto enjoyed in the commonwealth was undermined, and the foundation for future revolutions was laid, during this epoch; and the delineation of these as well as of the development of Rome in general would remain imperfect, if we should fail to give some idea of the strength of that encrusting ice, of the growth of the current beneath, and of the fearful moaning and cracking that foretold the mighty breaking up which was at hand. The Roman nobility attached itself, in form, to earlier institutions belonging to the times of the patriciate. Persons who once had filled the highest ordinary magistracies of the state not only, as a matter of course, practically enjoyed all along a higher honour, but also had at an early period certain honorary privileges associated with their position. The most ancient of these was doubtless the permission given to the descendants of such magistrates to place the wax images of these illustrious ancestors after their death in the family hall, along the wall where the pedigree was painted, and to have these images carried, on occasion of the death of members of the family, in the funeral procession.. the honouring of images was regarded in the Italo-Hellenic view as unrepublican, and on that account the Roman state-police did not at all tolerate the exhibition of effigies of the living, and strictly superintended that of effigies of the dead. With this privilege were associated various external insignia, reserved by law or custom for such magistrates and their descendants:--the golden finger-ring of the men, the silver-mounted trappings of the youths, the purple border on the toga and the golden amulet-case of the boys--trifling matters, but still important in a community where civic equality even in external appearance was so strictly adhered to, and where, even during the second Punic war, a burgess was arrested and kept for years in prison because he had appeared in public, in a manner not sanctioned by law, with a garland of roses upon his head.(6) These distinctions may perhaps have already existed partially in the time of the patrician government, and, so long as families of higher and humbler rank were distinguished within the patriciate, may have served as external insignia for the former; but they certainly only acquired political importance in consequence of the change of constitution in 387, by which the plebeian families that attained the consulate were placed on a footing of equal privilege with the patrician families, all of whom were now probably entitled to carry images of their ancestors. Moreover, it was now settled that the offices of state to which these hereditary privileges were attached should include neither the lower nor the extraordinary magistracies nor the tribunate of the plebs, but merely the consulship, the praetorship which stood on the same level with it,(7) and the curule aedileship, which bore a part in the administration of public justice and consequently in the exercise of the sovereign powers of the state.(8) Although this plebeian nobility, in the strict sense of the term, could only be formed after the curule offices were opened to plebeians, yet it exhibited in a short time, if not at the very first, a certain compactness of organization--doubtless because such a nobility had long been prefigured in the old senatorial plebeian families. The result of the Licinian laws in reality therefore amounted nearly to what we should now call the creation of a batch of peers. Now that the plebeian families ennobled by their curule ancestors were united into one body with the patrician families and acquired a distinctive position and distinguished power in the commonwealth, the Romans had again arrived at the point whence they had started; there was once more not merely a governing aristocracy and a hereditary nobility--both of which in fact had never disappeared--but there was a governing hereditary nobility, and the feud between the gentes in possession of the government and the commons rising in revolt against the gentes could not but begin afresh. And matters very soon reached that stage. The nobility was not content with its honorary privileges which were matters of comparative indifference, but strove after separate and sole political power, and sought to convert the most important institutions of the state--the senate and the equestrian order--from organs of the commonwealth into organs of the plebeio-patrician aristocracy.”

Theodor Mommsen (1817–1903) German classical scholar, historian, jurist, journalist, politician, archaeologist and writer

The History of Rome - Volume 2

Death, Men, War, Youth

“In the Egyptian and Eastern cosmogonies, and in the Greek version of them, no very definite meaning can, in general, be attached to the term 'destruction of the world,' for sometimes it would seem almost to imply the annihilation of our planetary system, and at others a mere revolution of the surface of the earth.”

Charles Lyell book Principles of Geology

Chpt.2, p. 16
Principles of Geology (1832), Vol. 1

World

“If Russian painters were condemned to become the pupils of the West they were, I think, rather unfaithful ones by their very nature. The best Russian realist conflicts with the realism of Courbet. The most authentic Russian Impressionism leaves on perplexed if one compares it with Monet and Pissaro. Here, in the Louvre, before the canvases of Manet, Millet and others, I understood why my alliance with Russia and Russian art did not take root. Why my language itself is foreign to them. Why people do not place confidence in me. Why the artistic circles fail to recognize me. Why in Russia I am entirely useless... In Paris, it seemed to me that I was discovering everything, above all a mastery of technique... It was not in technique alone that I sought the meaning of art then. It was as if the gods had stood before me... I had the impression that we are still only roaming on the surface of matter, that we are afraid to plunge into chaos, to shatter and overthrow beneath our feet the familiar surface.”

Marc Chagall (1887–1985) French artist and painter

reaction on his first arrival in Paris, 1910
Quote of Chagall in: Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 262, (translation Daphne Woodward)
1910's

God, People, Unfaithfulness, Art

“.. And with dream awakened eyes she saw all the beauty around her, saw the sea, felt the sun, and knew she had to vanish for a while from the human surface and make every sacrifice in order to create her world anew out of the depths.
And from that came
Life or Theater???”

Charlotte Salomon (1917–1943) German painter

original German language, Zitat von Charlotte Salomon: ..und sie sah – mit wachgeträumten Augen all die Schönheit um sich her – sah das Meer spürte die Sonne und wusste: sie musste für eine Zeit von der menschlichen Oberfläche verschwinden und dafür alle Opfer bringen – um sich aus der Tiefe ihre Welt neu zu schaffen Und dabei entstand<brdas Leben oder das Theater??? Quote, probably 1943, in Charlotte Salomon: Life? or Theatre?, (ed.) Judith C. E. Belinfante et al, Royal Academy of Arts, London, 1998, ISBN 0-900946-66-0, p. 38; as cited om Wikipedia these are the concluding words of the last overlay: JHM 4924-02 https://charlotte.jck.nl/detail/M004924/part/character/theme/keyword/M004924, of the epilogue - quoting ideas of her former love in Germany Alfred Wolfsohn, she called him 'Amadeus Daberlohn' in her paintings

Life, World, Beauty, Dreams

“The men of God are like fishes in the ocean; they pop up into view on the surface here and there and everywhere, as they please.”

Rumi (1207–1273) Iranian poet

As quoted in "A feather on the breath of God" by Nur Elmessiri in Al-Ahram Weekly Online Issue No. 385 (9 - 15 July 1998) http://weekly.ahram.org.eg/1998/385/cu2.htm

Men, God, Fish

“Given that the first manned Moon landing only had a 50 % chance of landing safely on the moon’s surface, it was an exemplary faith in technology and human spirit.”

Newton Lee American computer scientist

Google It: Total Information Awareness, 2016

Faith, Chance

“Arthropods and vertebrates share some broad features of general organization - elongated, bilaterally symmetrical bodies, with sensory organs up front, excretory structures in the back, and some form of segmentation along the major axis. But the geometry of major internal organs could hardly be more different… Arthropods concentrate their nervous system on their ventral (belly) side as two major cords running along the bottom surface of the animal. The mouth also opens on the ventral side, with the esophagus passing between the two nerve cords, and the stomach and remainder of the digestive tube running along the body above the nerve cords. In vertebrates, and with maximal contrast, the central nervous system runs along the dorsal (top) surface as a single tube culminating in a bulbous brain at the front end. The entire digestive system then runs along the body axis below the nerve cord.”

Stephen Jay Gould book Leonardo's Mountain of Clams and the Diet of Worms

"Brotherhood by Inversion", p. 321
Leonardo's Mountain of Clams and the Diet of Worms (1998)

Animals

“The Surface Stations site has been up two days now, and I’m getting hundreds of registrations across the country from people wanting to get involved in the grass roots effort to photograph, measure, catalog and contribute to the database of weather stations. I’m getting inquires from Congress, Policy think tanks, and bloggers worldwide… I’ve been invited to submit a research paper, and I’m having a lot of fun too. Now I know why I lost the school board election, it was to give me time to do this. Everything happens for a reason.”

Anthony Watts (1958) American television meteorologist

My summer project – a national weather station audit http://wattsupwiththat.com/2007/06/06/my-summer-project-a-national-weather-station-audit/, wattsupwiththat.com, June 6 2007. Other

People, School, Thinking, Effort

“Gsell: What astonishes me, is that your way is so different from that of other sculptors. They prose the model. Instead of that, you wait till a model has instinctively or accidentally taken an Interesting pose, and thon you reproduce It. Instead of your giving orders to the model, the model gives orders to you.
Rodin: I am not at the model's orders; I am at Nature's. Doubtless my confreres have their reasons for proceeding as they do. But when one constrains Nature in that way and treats human beings as mannikins, one runs a risk of getting nothing but dead, artificial results. A hunter of truth and a trapper of life. I am careful not to follow their example. I seize upon the movements I observe, but I don't dictate them. when a subject requires a predetermined pose, I merely Indicate It. For I want only what reality will afford without being forced. In everything I obey Nature. I never assume to command her. My sole ambition Is a servile fidelity.
Gsell : And yet, you take liberties with nature. You make changes.
Rodin : Not at all. I should be false to myself if I did.
Gsell : But you finished work is never like the plaster sketch
Rodin : That is so, but the sketch is far less true than the finished work. It would Impossible for a model to keep a living attitude during all the time it takes to shape the clay. Still, I retain a general idea of the pose and require the model to conform to it. But this is not all. The sketch reproduces only the exterior. I must next reproduce the spirit, which is every whit as essential a part of Nature. I see the whole truth — not merely the fraction of it that lies upon the surface. I accentuate tho lines that best express the spiritual state I am Interpreting.”

Auguste Rodin (1840–1917) French sculptor

Rodin on realism, 1910

Life, Truth, Way, Idea

“I had no desire to copy Pollock. I didn't want to take a stick and dip it in a can of enamel [paint]. I needed something more liquid, watery, thinner. All my life, I have been drawn to water and translucency. I love the water; I love to swim, to watch changing seascapes. One of my favorite childhood games was to fill a sink with water and punt nail polish into to see what happened when the colors burst up the surface, merging into each other as floating, changing shapes.”

Helen Frankenthaler (1928–2011) American artist

Quote from Abstract Expressionism, Barbara Hess, Taschen, Köln, 2006, p. 80
1990s - 2000s

Love, Life, Color, Game

“Thoughts at the open window of the payroll department [in a military barrack - World War I. ]: That everything is transitory is merely a simile. Everything we see is a proposal, a possibility, an expedient. The real truth, to begin with, remains invisible beneath the surface. The colors that captivate us are not lighting, but light. The graphic universe consists of light and shadow. The diffused clarity of slightly overcast weather is richer in phenomena than a sunny day. A thin stratum of cloud just before the stars break through. It is difficult to catch and represent this, because the moment is so fleeting. It has to penetrate into our soul. The formal has to fuse with the Weltanschauung”

Paul Klee (1879–1940) German Swiss painter

world view
Quote (July 1917), # 1081, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1916 - 1920

War, Truth, World, Color

“The strength that we want is not a brute, unregulated strength; the beauty that we want is no mere surface beauty; but we want a beauty on the surface of life that is from the central force of principle within, as the beauty on the cheek of health is from the central force at the heart.”

Mark Hopkins (educator) (1802–1887) American educationalist and theologian

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 113.

Life, Health, Beauty, Heart

“It's amazing what success will do. I've just started a new book after taking a break of a year and a half since finishing 'The Book of Evidence,' and I'm fascinated to see if I can detect in myself a voice saying, 'Tone that bit down; make that bit easier; give them a few laughs,' which would be absolutely fatal. I don't think it's happening, but you can't tell what's happening beneath the surface.”

John Banville (1945) Irish writer

Once More Admired Than Bought, A Writer Finally Basks in Success (1990)

Books, Thinking, Success

“We [Richter and w:Blinky Palermo ] could really just speak about painting. The main thing was about the surface of color or the proportion of color. It was impossible for me to talk to Sigmar Polke about the opacity of color. With Palermo, yes. We supported each other, we comforted each other a little bit. We thought this really could not be true that everything was supposed to be over ['painting' as an expression of art, in the 1970's). Art had to be relevant [in the 1970's], and our art was not relevant.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), pp. 96-97

Art, Color, Support, Painting

“.. the flat surface of a perfectly calm ocean [which] disturbs us.... by all the unknown that is hidden in the depth.”

Giorgio de Chirico (1888–1978) Italian artist

Quote of De Chirico, April/May 1919; as quoted in 'Giorgio de Chirico', MoMa online https://www.moma.org/artists/1106#fnref1 De Chirico compared the metaphysical work of art to this image of a calm ocean 1908 - 1920

“"Hey, gang!" I squeaked in my terrifically accurate Mickey voice. "Everybody ready to shoot the ultimate Disney flick? The film that rips the lid off the goody two-shoes hypocrisy that lies sweltering beneath the surface of G-rated true-life adventures? Okay, you guys, let's get that hand-held Arriflex right down there between Minnie's legs! I wanna see closeups of quivering labia!"”

Harlan Ellison (1934–2018) American writer

The Three Most Important Things in Life http://www.harlanellison.com/iwrite/mostimp.htm (1978)

Life, Shoe, Guy

“If they turn on their radars we're going to blow up their goddamn SAMs [surface-to- air missiles]. They know we own their country. We own their airspace…We dictate the way they live and talk. And that’s what’s great about America right now. It’s a good thing, especially when there’s a lot of oil out there we need.”

William R. Looney III (1949) 28th Commander, Air Education and Training Command, Randolph Air Force Base, Texas

Comments about the bombing of Iraq in the late 1990s, which he directed. Interview Washington Post (August 30, 1999); quoted in Rogue State, William Blum, Common Courage Press, 2005, p. 159.

Way, Country

“In the 21st Century I believe the mission of the United Nations will be defined by a new, more profound, awareness of the sanctity and dignity of every human life, regardless of race or religion. This will require us to look beyond the framework of States, and beneath the surface of nations or communities. We must focus, as never before, on improving the conditions of the individual men and women who give the state or nation its richness and character.”

Kofi Annan (1938–2018) 7th Secretary-General of the United Nations

Nobel lecture (2001)

Life, Women, Men, Religion

“When I first painted a number of canvases grey all over (about eight years ago), I did so because I did not know what to paint, or what there might be to paint: so wretched a start could lead to nothing meaningful. As time went on, however, I observed differences of quality among the grey surfaces – and also that these betrayed nothing of the destructive motivation that lay behind them. The pictures began to teach me. By generalizing a personal dilemma, they resolved it.”

Gerhard Richter (1932) German visual artist, born 1932

Quote of Richter on his 'Grey Paintings', in a letter to nl:Edy de Wilde, 23 February 1975; as cited on collected quotes on the website of Gerhard Richter: on 'Grey-paintings' https://www.gerhard-richter.com/en/quotes/subjects-2/grey-paintings-9 1970's

Motivation, Time, Painting, Personality

“Say “rationalist” to the average New Age chucklehead, and you conjured up unappetizing images: killjoys obsessed with rules, boors fixated on order, logic-mongers skating around on the surface of things, missing the cosmic essence. Phooey. A rationalist could experience awe as readily as a shaman. But it had to be quality awe, Oliver believed, awe without illusions—the sort of awe he’d felt upon intuiting the size of the universe, or sensing the unlikeliness of his birth.”

James K. Morrow book Towing Jehovah

Source: Towing Jehovah (1994), Chapter 5, “Teeth” (p. 109)

Age, Birth, Sense, Universe

“Geography is concerned to provide accurate, orderly, and rational description and interpretation of the variable character of the earth surface.”

Richard Hartshorne (1899–1992) American Geographer

Source: Perspective on the nature of geography (1958), p. 21

“Allow me to repeat what I said when you were here: deal with nature by means of the cylinder, the sphere and the cone, all placed in perspective, so that each side of an object or a plane is directed towards a central point. Lines parallel to the horizon give breadth, a section of nature, or if you prefer, of the spectacle spread before our eyes by the 'Pater Omnipotens Aeterne Deus'. Lines perpendicular to that horizon give depth. But for us men, nature has more depth than surface, hence the need to introduce in our vibrations of light, represented by reds and yellows, enough blue tints to give a feeling of air.”

Paul Cézanne (1839–1906) French painter

Quote from Cézanne's letter to Émile Bernard, 15 April 1904; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 180
Quotes of Paul Cezanne, after 1900

Men, Feeling, Nature, Light

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

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

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

World, Smile, Art, Color

“The dominant tradition in the sociology of art… defines art as something more special, in which creativity comes to the surface and the essential character if the society expresses itself, especially in the great work of the genius.”

Howard S. Becker (1928) American sociologist

Source: Art Worlds (1982), p.xi.

Art

“He took their facts for granted. He knew no more than a firefly about rays — or about race or sex — or ennui — or a bar of music — or a pang of love — or a grain of musk — or of phosphorus — or conscience — or duty — or the force of Euclidian geometry — or non-Euclidian — or heat — or light — or osmosis — or electrolysis — or the magnet — or ether — or vis inertiae — or gravitation — or cohesion — or elasticity — or surface tension — or capillary attraction — or Brownian motion — or of some scores, or thousands, or millions of chemical attractions, repulsions or indifferences which were busy within and without him; or, in brief, of Force itself, which, he was credibly informed, bore some dozen definitions in the textbooks, mostly contradictory, and all, as he was assured, beyond his intelligence.”

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

The Education of Henry Adams (1907)

Love, Music, Sex, Intelligence

“Who’s to say what’s impossible?
Well they forgot this world keeps spinning.
And with each new day,
I can feel a change in everything.

And as the surface breaks, reflections fade.
But in some ways they remain the same.
And as my mind begins to spread it’s wings
There’s no stopping curiosity.”

Jack Johnson (musician) (1975) American musician

Upside Down.
Song lyrics, Sing-A-Longs and Lullabies for the Film Curious George (2006)

World, Way, Feeling, Change

“Earth-worms abound in England in many different stations. Their castings may be seen in extraordinary numbers on commons and chalk-downs, so as almost to cover the whole surface, where the soil is poor and the grass short and thin.”

Charles Darwin book The Formation of Vegetable Mould through the Action of Worms

Source: The Formation of Vegetable Mould through the Action of Worms (1881), Chapter 1: Habits of Worms, p. 9. http://darwin-online.org.uk/content/frameset?pageseq=24&itemID=F1357&viewtype=image

Grass

“Basic would never have surfaced because there was always a language better than Basic for that purpose. That language was Joss, which predated Basic and was beautiful. But Basic happened to be on a GE timesharing system that was done by Dartmouth, and when GE decided to franchise that, it started spreading Basic around just because it was there, not because it had any intrinsic merits whatsoever.”

Alan Kay (1940) computer scientist

ACM Queue A Conversation with Alan Kay Vol. 2, No. 9 - Dec/Jan 2004-2005 http://queue.acm.org/detail.cfm?id=1039523 2000s, A Conversation with Alan Kay, 2004–05

Beauty

“You please me much by saying that no other fault [in the portrait Gainsborough recently made and sent] is to be found in your picture than the roughness of the surface; for that part being of use in giving force to the effect at a proper distance.... I urn [earn? ] much better pleased that they should spy out things of that kind than to see an eye half an inch out of its place or a nose out of drawing when view'd at a proper distance. I don't think it would be more ridiculous for a person to put his nose close to the canvas and say the colours smell offensive than to say how rough the paint lies; for one is just as material as the other with regard to hurting the effect and drawing of a picture. For Sir Godfrey Kneller used to tell them that pictures were not made to smell of..”

Thomas Gainsborough (1727–1788) English portrait and landscape painter

Quote in Gainborough's letter, March 1758 from Ipswich, to a correspondent in the neighbouring town of Colchester; as cited in Thomas Gainsborough, by William T, Whitley https://ia800204.us.archive.org/6/items/thomasgainsborou00whitrich/thomasgainsborou00whitrich.pdf; New York, Charles Scribner's Sons – London, Smith, Elder & Co, Sept. 1915, pp. 20-21 1755 - 1769

Thinking, Parting, Hurt, Drawing

“If we are to project our power against the vital areas of any enemy across the ocean before beachheads on enemy territory are captured, it must be by air-sea power; by aircraft launched from carriers; and by heavy surface ships and submarines projecting guided missiles and rockets. If present promise is developed by research, test and production, these three types of air-sea power operating in concert will be able within the next ten years critically to damage enemy vital areas many hundreds of miles inland.
Naval task forces including these types are capable of remaining at sea for months. This capability has raised to a high point the art of concentrating air power within effective range of enemy objectives.”

Chester W. Nimitz (1885–1966) United States Navy fleet admiral

Employment of Naval Forces (1948)

Art, Sea

“.. a single uninterrupted and continuous surface from which anything superfluous and all interpretative possibilities are excluded. [referring to his 'Achromes', Manzoni started to make in 1957]”

Piero Manzoni (1933–1963) Italian artist

Quote of Manzoni, in Display Caption of 'Achrome' 1958 http://www.tate.org.uk/art/artworks/manzoni-achrome-t01871', Tate, July 2008]

“We know it because, if we look below the surface, we sense it still spreading on every continent — for it is the most humane, the most advanced, and in the end the most unconquerable of all forms of human society.”

Franklin D. Roosevelt (1882–1945) 32nd President of the United States

1940s, Third inaugural address (1941)

Sense

“Already in 1915, Sophie Taeuber [his wife] divides the surface of her aquarelle into squares and rectangles which she then juxtaposes horizontally and perpendicularly [as Mondrian, Itten and Paul Klee did in the same period]. She constructs them as if they were masonry work. The colors are luminous, ranging from the raw yellow to deep red or blue.”

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

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 288, Arp refers in this quote to the structure in the early watercolor paintings by his wife Sophie Taeuber.

Color

“The tide of undecipherable signatures of mutinous adolescents which has washed over and bitten into the facades of monuments and the surface of public vehicles in the city where I live: graffiti as an assertion of disrespect, yes, but most of all simply an assertion… the powerless saying: I'm here, too.”

Susan Sontag (1933–2004) American writer and filmmaker, professor, and activist

"The Pleasure of the Image" (1985) from Writers on Artists edited by Daniel Halpern (1988), p. 98, North Point Press ISBN 0-86547-340-4

“I don't want to delve into the past for archeological pleasure - though it could have been that - but because the past has a reality which conditions us deep down. Then if you bring it slowly to the surface, it's full of possibilities.”

Jannis Kounellis (1936–2017) Greek painter, sculptor and professor of arts

Quoted in Kristine Stiles & Peter Howard Selz: Theories and documents of contemporary art (1996) P.670

Pleasure, Reality, Past

“Well sure, my sculptures are floor pieces. Each one, like any area on the surface of the earth, supports a column of air that weighs – what is it? – 14.7 pounds per square inch. So in a sense, that might represent a column. It's not an idea, it's a sense of something you know, a demarked place. Somehow I think I always thought of it going that way, rather than an idea of a narrowing triangle going to the center of the earth… I have nothing to do with Conceptual art [in contrast to his Physical Art, as Carl Andre called his sculpture art already in 1969]]. I'm not interested in ideas. If I were interested in ideas, I'd be in a field where what we think in is ideas… I don't really know what an idea is. One thing for me is that if I can frame something in language, I would never make art out of it. I make art out of things which cannot be framed in any other way. [quote from a talk with the audience, December 1969]”

Carl Andre (1935) American artist

Source: Artists talks 1969 – 1977, p. 12

Art, Way, Quotes, Idea

“Each somersault whipped out a perfect arc of shiny drops from his thick black hair. Then, as if it were his decision and not gravity’s, he opened the blade of his body toward the water and pierced its placid blue surface.”

Andrea Lewis (writer) Microsoft employee

“The Empire Pool” Conclave: A Journal of Character, Issue 5, (Spring, 2013)
2010-

Decision, Water, Perfection

“A mind of a certain size can feel only exasperation toward a city. Nothing can drive me more fully into despair. The walls first of all, and even then all the rest is only so many horrid images of selfishness, mistrust, stupidity, and narrow-mindedness. No need to memorize the Napoleonic code. Just look at a city and you have it. Each time I come back from the country, just as I am starting to congratulate myself on my calmness, there breaks out a furor, a rage… And I come upon my mark, homo sapiens, the acquisitive wolf. Cities, architectures, how I loathe you! Great surfaces of vaults, vaults cemented into the earth, vaults set out in compartments, forming vaults to eat in, vaults for sex, vaults on the watch, ready to open fire. How sad, sad…”

Henri Michaux (1899–1984) painter, poet, writer

Ecuador (1929)

Stupidity, Sadness, Sex, Feeling

“I was interested in achieving a creative freedom, a style that I could express with Seurat's.... color technique [color-divisionism], but shaped to my own needs. Proof that I found it is in my paintings of that period, among which is the famous 'Pan-Pan a Monico' [Severini painted in 1912]. My preference for Neo-Impressionism dates from those works. At times I tried to suppress it, but it always worked its way back to the surface.”

Gino Severini (1883–1966) Italian painter

Source: The Life of a Painter - autobiography', 1946, p. 53; as quoted in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003.

Color, Way, Freedom, Time

“The TV camera has no shutter. It does not deal with aspects or facets of objects in high resolution. It is a means of direct pick-up by the electrical groping over surfaces.”

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

Arts in society, Volume 3, 1964, p. 242
1960s

“Each one of us [artists] has several facets. The surface often appears more important than what is inside, hence the errors of those who judge carelessly. How many times has that not happened to me! The surface is often complete in some people from the very beginning, but not the possession of their own sensations. From this come errors. Some natures achieve the surface very slowly j this is the least danger an artist runs. So one should not think of the surface or the appearance, but concentrate on what is inner!”

Camille Pissarro (1830–1903) French painter

Quote of Camille Pissarro, Eragny, 17 November 1890, in a letter to his son Lucien; from Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, pp. 139-140
1890's

People, Error, Nature, Thinking

“Freezing concentrates sugar (maple sugar), alcohol, and salt solutions as efficiently as heating distils water or alcohol from solutions. Open pans of maple sugar can have the surface ice removed regularly (each day) until a sugar concentrate remains. Salts in water, and alcohol in ferment liquors can be concentrated in the same way.”

Bill Mollison (1928–2016) Australian permaculturist

Source: Permaculture: A Designers' Manual (1988), chapter 12.15

Alcohol, Way, Water

“We are told that Barack Obama believes too much in an America of high principle and bold endeavor, but when John Kennedy called of going to the moon, he didn't say, "It's too far to get there. We shouldn't even try."
Our people answered his call and rose to the challenge, and today an American flag still marks the surface of the moon.”

Ted Kennedy (1932–2009) United States Senator

DNC Speech (2008)

People

“Sunlight is one and the same wherever it falls; but only a bright surface like that of water, or of a mirror reflects it fully. So is the light Divine. It falls equally and impartially on all hearts, but the pure and pious hearts of holy men receive and reflect that light well.”

Ramakrishna (1836–1886) Indian mystic and religious preacher

Source: Sayings of Sri Ramakrishna (1960), p. 649

Men, Light, Water, Heart

“Reverend Lawson:You lured those boys in here and made filth of them!
Bob: We don't think human bodies is filth until they're corpses, Reverend Lawson!
Bill: We loved every inch of those boys.
Bob: Every chance we got.
Bill: And we sent them away to war, since they had to go, with every surface of them—
Bob: Tinglin' with kisses an' love.”

Robert Patrick (playwright) (1937) Playwright, poet, lyricist, short story writer, novelist

"Bill Batchelor Road"
Untold Decades: Seven Comedies of Gay Romance (1988)

Love, War, Boy, Kiss

“This shifted the centre of a truly Hellenic civilization to the east, to the Aegean, the Ionian littoral of Asia Minor and to Constantinople. It also meant that modem Greeks could hardly count as being of ancient Greek descent, even if this could never be ruled out.’ There is a sense in which the preceding discussion is both relevant to a sense of Greek identity, now and earlier, and irrelevant. It is relevant in so far as Greeks, now and earlier, felt that their ‘Greekness’ was a product of their descent from the ancient Greeks (or Byzantine Greeks), and that such filiations made them feel themselves to be members of one great ‘super-family’ of Greeks, shared sentiments of continuity and membership being essential to a lively sense of identity. 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.”

Anthony D. Smith (1939–2016) British academic

Source: National Identity (1991), p. 29: About Ethnic Change, Dissolution and Survival

Family, Feeling, Literature, Sense

“Our point isn’t to make an examination of popular film but to illustrate that the yearning for a heroic adventure lies just beneath the surface of our consciousness; film, television, literature, sports, and travel are in a sense vicarious adventures.”

Alan Hirsch (1959) South African missionary

Source: The Faith of Leap (2011), p. 110

Travel, Literature, Sense, Sport

“One has been led to the conception of electrons, i. e. of extremely small particles, charged with electricity, which are present in immense numbers in all ponderable bodies, and by whose distribution and motions we endeavor to explain all electric and optical phenomena that are not confined to the free ether…. according to our modern views, the electrons in a conducting body, or at least a certain part of them, are supposed to be in a free state, so that they can obey an electric force by which the positive particles are driven in one, and the negative electrons in the opposite direction. In the case of a non-conducting substance, on the contrary, we shall assume that the electrons are bound to certain positions of equilibrium. If, in a metallic wire, the electrons of one kind, say the negative ones, are travelling in one direction, and perhaps those of the opposite kind in the opposite direction, we have to do with a current of conduction, such as may lead to a state in which a body connected to one end of the wire has an excess of either positive or negative electrons. This excess, the charge of the body as a whole, will, in the state of equilibrium and if the body consists of a conducting substance, be found in a very thin layer at its surface.
In a ponderable dielectric there can likewise be a motion of the electrons. Indeed, though we shall think of each of them as haying a definite position of equilibrium, we shall not suppose them to be wholly immovable. They can be displaced by an electric force exerted by the ether, which we conceive to penetrate all ponderable matter… the displacement will immediately give rise to a new force by which the particle is pulled back towards its original position, and which we may therefore appropriately distinguish by the name of elastic force. The motion of the electrons in non-conducting bodies, such as glass and sulphur, kept by the elastic force within certain bounds, together with the change of the dielectric displacement in the ether itself, now constitutes what Maxwell called the displacement current. A substance in which the electrons are shifted to new positions is said to be electrically polarized.
Again, under the influence of the elastic forces, the electrons can vibrate about their positions of equilibrium. In doing so, and perhaps also on account of other more irregular motions, they become the centres of waves that travel outwards in the surrounding ether and can be observed as light if the frequency is high enough. In this manner we can account for the emission of light and heat. As to the opposite phenomenon, that of absorption, this is explained by considering the vibrations that are communicated to the electrons by the periodic forces existing in an incident beam of light. If the motion of the electrons thus set vibrating does not go on undisturbed, but is converted in one way or another into the irregular agitation which we call heat, it is clear that part of the incident energy will be stored up in the body, in other terms [words] that there is a certain absorption. Nor is it the absorption alone that can be accounted for by a communication of motion to the electrons. This optical resonance, as it may in many cases be termed, can likewise make itself felt even if there is no resistance at all, so that the body is perfectly transparent. In this case also, the electrons contained within the molecules will be set in motion, and though no vibratory energy is lost, the oscillating particles will exert an influence on the velocity with which the vibrations are propagated through the body. By taking account of this reaction of the electrons we are enabled to establish an electromagnetic theory of the refrangibility of light, in its relation to the wave-length and the state of the matter, and to form a mental picture of the beautiful and varied phenomena of double refraction and circular polarization.
On the other hand, the theory of the motion of electrons in metallic bodies has been developed to a considerable extent…. important results that have been reached by Riecke, Drude and J. J. Thomson… the free electrons in these bodies partake of the heat-motion of the molecules of ordinary matter, travelling in all directions with such velocities that the mean kinetic energy of each of them is equal to that of a gaseous molecule at the same temperature. If we further suppose the electrons to strike over and over again against metallic atoms, so that they describe irregular zigzag-lines, we can make clear to ourselves the reason that metals are at the same time good conductors of heat and of electricity, and that, as a general rule, in the series of the metals, the two conductivities change in nearly the same ratio. The larger the number of free electrons, and the longer the time that elapses between two successive encounters, the greater will be the conductivity for heat as well as that for electricity.”

Hendrik Lorentz (1853–1928) Dutch physicist

Source: The Theory of Electrons and Its Applications to the Phenomena of Light and Radiant Heat (1916), Ch. I General principles. Theory of free electrons, pp. 8-10

Beauty, Way, Travel, Communication

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

Fernand Léger (1881–1955) French painter

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

Color, Housing, Dead

“The produce of the earth - all that is derived from its surface by the united application of labour, machinery, and capital, is divided among three classes of the community, namely, the proprietor of the land, the owner of the stock or capital necessary for its cultivation, and the labourers by whose industry it is cultivated.”

David Ricardo (1772–1823) British political economist, broker and politician

Original Preface, p. 1
The Principles of Political Economy and Taxation (1821) (Third Edition)

Communication

“His [Diego Rivera's] supposed mythomania is in direct relation to his tremendous imagination. That is to say, he is as much of a liar as the poets or as the children who have not yet been turned into idiots by school or mothers. I have heard him tell all kinds of lies: from the most innocent, to the most complicated stories about people whom his imagination combined in a fantastic situation or actions, always with a great sense of humor and a marvelous critical sense; but I have never heard him say a single stupid or banal lie. Lying, or playing at lying, he unmasks many people, he learns the interior mechanism of others, who are much more ingenuously liars than he, and the most curious thing about the supposed lies of Diego, is that in the long and short of it, those who are involved in the imaginary combination become angry, not because of the lie, but because of the truth contained in the lie, that always comes to the surface.”

Frida Kahlo (1907–1954) Mexican painter

Frida's quote On Diego Rivera, in 'Portrait of Diego' [Retrato de Diego] (22 January 1949), first published in Hoy (Mexico City) and posthumously (17 July 1955) in Novedades (Mexico City): "México en la Cultura"
1946 - 1953

Children, People, Truth, Lie

“I admit, that the commonplace man can never, by copying, produce a masterpiece; he notes every detail but he does not really see - the artist penetrates below the surface into the very heart of nature; for him everything is beautiful because beauty in art consists of character.”

Auguste Rodin (1840–1917) French sculptor

RODIN, AUGUSTE. L'Art. Entretiens réunis par Paul Gsell, 1911

Beauty, Art, Nature, Heart

“It is necessary that the principles of liberty, equality and fraternity, eternal in their duration, be universal in their application, that being realized in institutions, law and customs, they spread over the surface of the globe and filter down to it's lowest strata. Only then shall the regeneration of man be accomplished.”

Francisco Luís Gomes (1829–1869) Indo-Portuguese physician, writer, historian, economist, political scientist and MP in the Portuguese parli…

Os Brâmanes (1866). Quoted by Teotonio R. de Souza in Essays in Goan history (1989), p. 137
Os Brâmanes (1866)

Law, Universe

“The world around us can be construed as a huge "house" that we share with other humans, as well as with animals and plants. It is in this world that we exist, fulfilling our tasks, enjoying things, developing social relations, creating a family. In short, we live in this world. We thus have a deep human need to know and to trust it, to be emotionally involved in it. Many of us, however, experience an increasing feeling of alienation. Even though, with the expansion of society, virtually the entire surface of the planet has become a part of our house, often we do not feel "at home" in that house. With the rapid and spontaneous changes of the past decades, so many new wings and rooms have been constructed or rearranged that we have lost familiarity with our house. We often have the impression that what remains of the world is a collection of isolated fragments, without any structure and coherence. Our personal "everyday" world seems unable to harmonise itself with the global world of society, history and cosmos.
It is our conviction that the time has come to make a conscious effort towards the construction of global world views, in order to overcome this situation of fragmentation. There are many reasons why we believe in the benefit of such an enterprise, and in the following pages we shall attempt to make some of them clear.”

Diederik Aerts (1953) Belgian theoretical physicist

Source: World views. From Fragmentation to Integration (1994), p. 1; About "The fragmentation of our world"

World, Family, Feeling, Home

“Turning a small surface of water into vapour by fire, applied to the bottom of the cylinder that contains it; which vapour forces up the plug (or piston) in the cylinder to a considerable height, and which, as the vapour condenses, (as the water cools when taken from the fire,) descends again by air's pressure, and is applied to raise water out of the mine.”

Denis Papin (1647–1713) French physicist, mathematician and inventor

Denis Papin, Letter, as quoted by Robert Stuart Meikleham, A Descriptive History of the Steam Engine (1824)

Water

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

Fernand Léger (1881–1955) French painter

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

Color, Question

“And as the company passed from the valley, into a higher ground,
The rain beat on the ridge and on the meadow, and on the mound,
Until nothing was left, nothing at all except the body of Sorrow,
That rose in time, to float upon the surface of the eaten soil.”

Nick Cave (1957) Australian musician

Song lyrics, Your Funeral… My Trial (1986), The Carny

Time

“The moods of the dark night skies are variously represented like soft black velvet, like the shining black of a scarab beetle, like the patina-ed surface of Indian-inked paper, soft blotting-paper soaked in dark blue ink for forty days, like a black cat's fur shining in moonlight…”

Peter Greenaway (1942) British film director

Prospero's Books

Cats, Mood, Night

“Everything is conditioned by necessity of one kind or another; and if it were actually possible to find a person in conditions of total freedom, he would be like some deep water fish that had been dragged up to the surface. It's curious to reflect that Rublyov worked within the strictures of the canon! And the longer I live in the West the more curious and equivocal freedom seems to me. Freedom to take drugs? To kill? To commit suicide?”

Andrei Tarkovsky book Sculpting in Time

Source: Sculpting in Time (1986), p. 180

Fish, Suicide, Freedom, Water

“…media are not just passive channels of information. They supply the stuff of thought, but they also shape the process of thought. And what the Net seems to be doing is chipping away my capacity for concentration and contemplation. My mind now expects to take in information the way the Net distributes it: in a swiftly moving stream of particles. Once I was a scuba diver in the sea of words. Now I zip along the surface like a guy on a Jet Ski.”

Nicholas Carr (1959) American writer

Is Google Making us Stupid in The Atlantic, July 2008.

Way, Guy, Sea

“So his life has flowed
From its mysterious urn a sacred stream,
In whose calm depth the beautiful and pure
Alone are mirrored; which, though shapes of ill
May hover round its surface, glides in light,
And takes no shadow from them.”

Thomas Noon Talfourd (1795–1854) British politician

Act i. Sc. 1.
Ion (1835)

Life, Beauty, Light

“It is as useless for a person to want first of all to decide the externals and after that the fundamentals as it is for a cosmic body, thinking to form itself, first of all to decide the nature of its surface, to what bodies it should turn its light, which its dark side, without first letting the harmony of centrifugal and centripetal forces realize its existence and letting the rest come of itself. One must learn to know oneself before knowing anything else (gnothi seauton). Not until a person has inwardly understood himself and then sees the course he is to take does his life gain peace and meaning.”

Sören Kierkegaard (1813–1855) Danish philosopher and theologian, founder of Existentialism

Journal entry, August 1, 1835
1830s, The Journals of Søren Kierkegaard, 1830s

Life, Peace, Nature, Thinking

“A deep and serene silence filled her structures composed of colors and surfaces. The exclusive use of horizontal and vertical rectangular planes in the work of art, the extreme simplification, exerted a decisive influence on my work. Here I found, stripped down to the limit, the essential elements of all earthly constructions: the bursting, upward surge of the lines and the planes toward the sky, the verticality of pure life, and the vast equilibrium, the sheer horizontality and expansiveness of dreamlike peace. Her work was for me a symbol of a divinely built 'house' which man in his vanity has ravaged and sullied.”

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

a remark on the art of Sophie Taeuber, whom he later married.
in Abstract Painting Michel Seuphor, Dell Publishing Co., 1964, p. 58
1960s

Life, Peace, Art, Color

“Real revolutionaries adorn themselves on the inside, not on the surface.”

Ernesto Che Guevara (1928–1967) Argentine Marxist revolutionary

As quoted in Che Guevara: A Revolutionary Life (2010) by John Lee Anderson, p. 178

“Every day I studied the nude, and movement in the streets and in the shops [in Berlin]. Out of the naturalistic surface with all its variations I wanted to derive the pictorially determined surface.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

Letter to Botho Graef, 21 September 1916; as quoted in Voices of German Expressionism, ed. Victor H. Miesel, Tate publishing, London 2003 p. 18
1916 - 1919

Study

“Nature knows nothing but solid bodies; your science deals only with combinations of surfaces. And so nature constantly gives the lie to all your laws; can you name one to which no fact makes an exception?”

Honoré de Balzac book Séraphîta

Source: Seraphita (1835), Ch. 4: The Clouds of the Sanctuary.

Lie, Law, Nature, Science

“In sculpture the projection of the fasciculi must be accentuated, the foreshortening forced, the hollows deepened; sculpture is the art of the hole and the lump, not of clear, well-smoothed, unmodelled figures. Ignorant people, when they see close-knitted true surfaces, say that 'it is not finished.' No notion is falser than that of finish unless it be that of elegance; by means of these two ideas people would kill our art. The way to obtain solidity and life is by work carried out to the fullest, not in the direction of achievement and of copying détails, but in that of truth in the successive schemes. The public, perverted by académie préjudices, confounds art with neatness. The simplicity of the 'École' is a painted cardboard ideal, A cast from life is a copy, the exactest possible copy, and yet it has neither motion nor eloquence. Art intervenes to exaggerate certain surfaces, and also to fine down others. In sculpture everything depends upon the way in which the modelling is carried out with a constant thought of the main line of the scheme, upon the rendering of the hollows, of the projections and of their connections; thus it is that one may get fine lights, and especially fine shadows that are not opaque. Everything should be emphasised according to the accent that it is desired to render, and the degree of amplification is personal, according to the tact and the temperament of each sculptor; and for this reason there is no transmissible process, no studio recipe, but only a true law. I see it in the antique and in Michael Angelo. To work by the profiles, in depth not by surfaces, always thinking of the few geometrical forms from which all nature proceeds, and to make these eternal forms perceptible in the individual case of the object studied, that is my criterion. That is not idealism, it is a part of the handicraft. My ideas have nothing to do with it but for that method; my Danaids and my Dante figures would be weak, bad things. From the large design that I get your mind deduces ideas.”

Auguste Rodin (1840–1917) French sculptor

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 61-63

Life, People, Truth, Law

“In these days he promoted a bramin, by name Seeva Dew Bhut, to the office of prime minister, who embracing the Mahomedan faith, became such a persecutor of Hindoos that he induced Sikundur to issue orders proscribing the residence of any other than Mahomedans in Kashmeer; and he required that no man should wear the mark on his forehead, or any woman be permitted to burn with her husband’s corpse. Lastly, he insisted on all golden and silver images being broken and melted down, and the metal coined into money. Many of the bramins, rather than abandon their religion or their country, poisoned themselves; some emigrated from their native homes, while a few escaped the evil of banishment by becoming Mahomedans. After the emigration of the bramins, Sikundur ordered all the temples in Kashmeer to be thrown down; among which was one dedicated to Maha Dew, in the district of Punjhuzara, which they were unable to destroy, in consequence of its foundation being below the surface of the neighbouring water. But the temple dedicated to Jug Dew was levelled with the ground; and on digging into its foundation the earth emitted volumes of fire and smoke which the infidels declared to be the emblem of the wrath of the Deity; but Sikundur, who witnessed the phenomenon, did not desist till the building was entirely razed to the ground, and its foundations dug up….. “In another place in Kashmeer was a temple built by Raja Bulnat, the destruction of which was attended with a remarkable incident. After it had been levelled, and the people were employed in digging the foundation, a copper-plate was discovered, on which was the following inscription:- ‘Raja Bulnat, having built this temple, was desirous of ascertaining from his astrologers how long it would last, and was informed by them, that after eleven hundred years, a king named Sikundur would destroy it, as well as the other temples in Kashmeer’…Having broken all the images in Kashmeer, he acquired the title of the Iconoclast, ‘Destroyer of Idols’…”

Firishta (1560–1620) Indian historian

Sultãn Sikandar Butshikan of Kashmir (AD 1389-1413)Kashmir
Tãrîkh-i-Firishta

Money, People, Faith, Religion

“Specifically, the presence of oceans on much of the earth's surface makes it impossible for any state to achieve global hegemony.”

John Mearsheimer book The Tragedy of Great Power Politics

Source: The Tragedy of Great Power Politics (2001), Chapter 4, The Primacy of Land Power, p. 84

“In the same manner the voice executes its movements in concentric circles; but while in the case of water the circles move horizontally on a plane surface, the voice not only proceeds horizontally, but also ascends vertically by regular stages. Therefore, as in the case of the waves formed in the water, so it is in the case of the voice: the first wave, when there is no obstruction to interrupt it, does not break up the second or the following waves, but they all reach the ears of the lowest and highest spectators without an echo.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book V, Chapter IV, Sec. 7

Water

“For when I construct lines and colour combinations on a flat surface, it is with the aim of portraying 'universally beauty' as consciously as possible. Nature (or that which I see) inspires me, provides me – as it does every painter – with the emotion by which I am moved to create something, but I want to approach the truth as closely as possible, abstracting everything until I come to the foundation – still only an outward foundation! – of things. It is for me a clear truth that one does not want to say something 'specific', it is then that one says what is most specific: the truth (which is of great universality).”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote in a letter to H. P. Bremmer, Paris 29 January 1914; ; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 81
1910's

Truth, Beauty, Nature, Universe

“Every morning during certain seasons of the year, the thrushes and blackbirds on all the lawns throughout the country draw out of their holes an astonishing number of worms; and this they could not do, unless they lay close to the surface.”

Charles Darwin book The Formation of Vegetable Mould through the Action of Worms

Source: The Formation of Vegetable Mould through the Action of Worms (1881), Chapter 1: Habits of Worms, p. 16. http://darwin-online.org.uk/content/frameset?pageseq=31&itemID=F1357&viewtype=image

Drawing, Country, Season

“"It is hard to describe precisely what made Mr. Howard's stories stand out so sharply; but the real secret is that he himself is in every one of them, whether they were ostensibly commercial or not. He was greater than any profit-making policy he could adopt — for even when he outwardly made concessions to Mammon-guided editors and commercial critics, he had an internal force and sincerity which broke through the surface and put the imprint of his personality on everything he wrote." ~ H. P. Lovecraft, "Robert Ervin Howard: A Memorium", Fantasy Magazine, 1936 (Reprinted in The Last Celt, Glenn Lord ed., p. 69, 1976,”

Robert E. Howard (1906–1936) American author

About

Secret, Personality, Sincerity

“The value of the intrinsic approach is especially apparent in considering 3-dimensional congruence spaces… The intrinsic geometry of such a space of curvature K provides formulae for the surface area S and the volume V of a "small sphere" of radius r, whose leading terms are 3)S = 4 \pi r^2 (1 - \frac{Kr^2}{3} + …),
V = \frac{4}{3} \pi r^3 (1 - \frac{Kr^2}{5} + …).”

Howard P. Robertson (1903–1961) American mathematician and physicist

Geometry as a Branch of Physics (1949)

“It is remarkable that this generalization of plane geometry to surface geometry is identical with that generalization of geometry which originated from the analysis of the axiom of parallels. …the construction of non-Euclidean geometries could have been equally well based upon the elimination of other axioms. It was perhaps due to an intuitive feeling for theoretical fruitfulness that the criticism always centered around the axiom of parallels. For in this way the axiomatic basis was created for that extension of geometry in which the metric appears as an independent variable. Once the significance of the metric as the characteristic feature of the plane has been recognized from the viewpoint of Gauss' plane theory, it is easy to point out, conversely, its connection with the axiom of parallels. The property of the straight line as being the shortest connection between two points can be transferred to curved surfaces, and leads to the concept of straightest line; on the surface of the sphere the great circles play the role of the shortest line of connection… analogous to that of the straight line on the plane. Yet while the great circles as "straight lines" share the most important property with those of the plane, they are distinct from the latter with respect to the axiom of the parallels: all great circles of the sphere intersect and therefore there are no parallels among these "straight lines". …If this idea is carried through, and all axioms are formulated on the understanding that by "straight lines" are meant the great circles of the sphere and by "plane" is meant the surface of the sphere, it turns out that this system of elements satisfies the system of axioms within two dimensions which is nearly identical in all of it statements with the axiomatic system of Euclidean geometry; the only exception is the formulation of the axiom of the parallels.”

Hans Reichenbach (1891–1953) American philosopher

The geometry of the spherical surface can be viewed as the realization of a two-dimensional non-Euclidean geometry: the denial of the axiom of the parallels singles out that generalization of geometry which occurs in the transition from the plane to the curve surface.
The Philosophy of Space and Time (1928, tr. 1957)

Way, Feeling, Idea, Understanding

“I could not believe what I was seeing: everywhere there were whale bones. Thousands of them stacked on top of each other. They rose from the seabed almost to the surface of the water. There were big bones. I could make out many of them: rib bones, jaw bones, vertebrae. In some places they were piled so high that, when I took a stroke, my hands touched them. I thought of all the beautiful whales I’d seen around the coast of South Africa and Norway that add so much to the area. How many whales were hunted and brought to this island before having their carcasses burned for oil and their bones dumped in this way? It disgusted me to such an extent that I considered stopping the swim to move it elsewhere, but I decided I had to press on.”

Lewis Pugh (1969) Environmental campaigner, maritime lawyer and endurance swimmer

p 233, describing his swim at Deception Island, Antarctica (2005)
Achieving The Impossible (2010)

Beauty, Way, Water

“On the surface of the water, a midge vanishes into a hungry ripple. I'm not ready yet. He wonders why, at his age and having come so far, he still feels that. The culmination of his luck is that he will never feel any other way.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

Source: Memoirs, May Week Was in June (1990), p. 240

Age, Way, Feeling, Water

“In science there are no 'depths'; there is surface everywhere.”

Rudolf Carnap (1891–1970) German philosopher

Rudolf Carnap (1929) from the Vienna Circle manifesto.

Science

“From a careful determination of the amount of solar heat that which would fall per minute on an area of one square centimetre placed perpendicular to the radiation as it falls on Earth's surface and from a knowledge of the Earth's distance, we deduce that each square centimetre of the solar surface radiates on the average of about the rate of a nine horse-power engine.”

Gerald James Whitrow (1912–2000) British mathematician

"Why the Sun Shines" (18 July 1957)

Knowledge, Horse

“His musical inspiration operates in a world uncluttered by conventional bar lines, conventional chord changes, and conventional ways of blowing or fingering a saxophone. Such practical 'limitations' did not even have to be overcome in his music; they somehow never existed for him. Despite this--or more accurately, because of this--his playing has a deep inner logic. Not an obvious surface logic, it is based on subtleties of reaction, subtleties of timing and color that are, I think, quite new to jazz--at least they have never appeared in so pure and direct a form.”

Ornette Coleman (1930–2015) American jazz musician

Gunther Schuller, quoted in [All American Music: Composition in the Late Twentieth Century, 1983, Rockwell, John, New York, Alfred A. Knopf, ISBN 0394511638].
About

World, Music, Color, Way

Quotes about surface page 6

Quotes about surface
page 6