Quotes about tactile (29 quotes) | Quotes of famous people

“Color is not so much a visual as a tactile medium.”

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

1970s, Culture Is Our Business (1970)

Color

“The geometry of Tlön comprises two somewhat different disciplines: the visual and the tactile. The latter corresponds to our own geometry and is subordinated to the first.”

Jorge Luis Borges book Tlön, Uqbar, Orbis Tertius

Tlön, Uqbar, Orbis Tertius (1940)

“All art that is expressive has to be illusionistic. The raw material out of which art is built is not necessarily in itself potent; you must transform it. Contours, tactility, touch, color, intervals, that's all part of the concreteness of art. You have to make the concreteness expressive. That way you don't cater to taste. You resist sentimentality. Things in a picture can't remind you too much of anything else. You have to resist all that.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 24
Conversation with Karen Wilkin' (1986-1988)

Art , Color , Way , Parting

“Chinese script is not visual but iconic and tactile. It does not disturb the tribal bonds.”

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

Source: 1970s, Culture Is Our Business (1970), p. 72

“What greatly attracted me – and it was the main line of advance of Cubism – was how to give material expression to this new space of which I had an inkling. So I began to paint chiefly still life's, because in nature there is a tactile, I would almost say a manual space. I wrote about this moreover 'When a still-life is no longer within reach, it ceases to be a still-life…'. For me that expressed the desire I have always had to touch a thing, not just to look at it. It was that space that attracted me strongly, for that was the earliest Cubist painting – the quest for space.”

Georges Braque (1882–1963) French painter and sculptor

Source: 1946 - 1963, In conversation with Dora Vallier' (1954), p. 264

Life , Nature , Painting

“I had to find a way in each picture to change the drawing, shaping and tactile qualities to make these elements expressive; as the color had subsumed the possibility the possibility of these parts being on a equal basis of expressiveness.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 10
Conversation with Karen Wilkin' (1986-1988)

Color , Way , Change , Parting

“All our steps in creating or absorbing material of the record proceed through one of the senses — the tactile when we touch keys, the oral when we speak or listen, the visual when we read. Is it not possible that some day the path may be established more directly?”

Vannevar Bush book As We May Think

As We May Think (1945)

Sense , Reading

“.. the art of futurism…. achieved great momentum in the first quarter of the Twentieth Century and remains a basic stimulus in the following forms of new art: Suprematism, Simultaneism, Purism, Odorism, Pankinetism, Tactilism, Haptism, Expressionism and Légerísm [referring to Fernand Léger in the last… ism, mentioned]”

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

1910 - 1920
Source: 'Cubofuturism', Malevich, in Essays on Art, op. cit., vol 2; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 59

Art , Future

“The celebrated earthy tactility of Rabelais is a massive backwash of receding manuscript culture.”

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

Source: 1960s, The Gutenberg Galaxy (1962), p. 170

“Tactile space separates us from objects, as opposed to visual space, which separates objects from one another. I have spent my life trying to paint the former kind.”

Georges Braque (1882–1963) French painter and sculptor

Quote of Braque to John Richardson, in 'Braque Discusses His Art', in 'Realités', no. 93, August 1958, p. 28
1946 - 1963

Life , Painting

“Marinetti's [leading Futurism founder and theorist] Tactilism can be seen as an instinctive effort in this direction [of the new architecture, according to Van Doesburg] even if it presents only the sensuous-tactile expression of space through using various materials. Picasso's earlier compositions in various materials also concerns us here. The Russian artists [ Tatlin and Lissitzky, both Constructivist artists] also appreciated the exterior quality of the plane, not only optical, but also in a tactile manner... Intuition already produced a foreknowledge of these new realms, but they can be established fully only by science.”

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

Quote in van Doesburg's unpublished writing: 'The struggle for the new', 1929-30; as quoted in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 187
Van Doesburg's quote is proposing here the sensuous-tactile expression of space as essential for modern architecture
1926 – 1931

Effort , Science , Future

“What particularly attracted me [in his painting 'Still-life with Musical instruments', 1908 – 1909].... was the materialization of this new space that I felt to be in the offing. So I began to concentrate on still-life's, because in the still-life you have a tactile, I might almost say a manual space... This answered to the hankering I have always had to touch things and not merely see them. It was this space that particularly attracted me, for this was the first concern of Cubism, the investigation of space.... In tactile space you measure the distance separating you from the object, whereas in visual space you measure the distance separating things from each other. This is what led me, long ago, from landscape to still-life.”

Georges Braque (1882–1963) French painter and sculptor

Source: posthumous quotes, Braque', (1968), p. 41

Life , Music , Painting

“It's a simple fact, when you move from one color space to another color space, that if there's a value contrast you get a strong optical illusion. Strong value contrast can be expressive and dramatic. Like the difference between high or low volume or the low key and the high keys on the piano... Actually, if you're moving from one flat color to another flat color, if there's a difference of color – if one is matte and the other is shiny – that contrast of tactility can keep them visually in the same dimension. It keeps them adjacent – side by side... Another reason is that a matte color and a shiny, transparent color are emotionally different. If something is warm and fuzzy and dense we have a kind of emotional response to that. If something is clear and you can see through it, like yellow or green or red can be, we have a different emotional sensation from that. So there's an expressive difference you can get that gives you more expressive range.”

Kenneth Noland (1924–2010) American artist

Source: Color, Format and Abstract Art' (1977), pp. 99 – 105

Color , Strong

“Tactility is the space of the interval; acoustic space is spherical and resonant.”

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

1980s, Laws of Media: The New Science (with Eric McLuhan) (1988)

“A chance remark by Ardini, an Italian master carver whom I met there [in Rome], that 'marble changes colour under different people's hands' made me decide immediately that it was not dominance which one had to attain over material, but an understanding, almost a kind of persuasion, and above all greater co-ordination between head and hand. This thought has recurred again and again ever since - and has developed my greatest interests; the reason why people both move differently and stand differently in direct response to changed surroundings; the unconscious grouping of people when they are working together, producing a spatial movement which approximates to the structure of spirals in shells or rhythms in crystal structure; the meaning of the spaces between forms, or the shape of the displacement of forms in space, which in themselves have a most precise significance. All these responses spring from a factual and tactile approach to the object.”

Barbara Hepworth (1903–1975) English sculptor

Extract from Barbara Hepworth: Carvings and Drawings, (from Chapter 1: The excitement of discovering the nature of carving, 1903-1930), with an introduction by Herbert Read, London, 1952
1947 - 1960

People , Spring , Understanding , Change

“Visual space is the space of detachment. Audile-tactile space is the space of involvement.”

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

Source: 1970s, Culture Is Our Business (1970), p. 194

“Mountcastle discovered that tactile sensation is made up of several distinct modalities; for example, touch includes… hard pressure on the skin as well as a light brush… He found that each distinct submodality has its own private pathway within the brain and that this segregation is maintained at each relay…”

Eric R. Kandel (1929) American neuropsychiatrist

In Search of Memory (2006)

Light

“Tactility is space of the interval.”

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

1970s, Culture Is Our Business (1970)

“The reduction of the tactile qualities of life and language constitute the refinement sought in the Renaissance and repudiated now in the electronic age.”

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

Source: 1960s, The Gutenberg Galaxy (1962), p. 272

Life , Age

“The second conception of the world via the medium of matter required both a visual and a tactile perception of things. In this case the whole design process tends to emanate from the specific characteristics of the respective medium used. The leader of this movement (Tatlin) assumed.... that the intuitive and artistic mastery of materials would lead to inventions on the basis of which objects could be constructed. He believed he could prove this theory with his design for the 'Monument to the Third International' (1920), [never built]. He accomplished this task without having any special technical knowledge of construction.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

Quote from: 'Basic Premises'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)

World , Knowledge

“I who am blind can give one hint to those who see - one admonition to those who would make full use of the gift of sight: Use your eyes as if tomorrow you would be stricken blind. And the same method can be applied to other senses. Hear the music of voices, the song of a bird, the mighty strains of an orchestra, as if you would be stricken deaf to-morrow. Touch each object you want to touch as if tomorrow your tactile sense would fail. Smell the perfume of flowers, taste with relish each morsel, as if tomorrow you could never smell and taste again. Make the most of every sense; glory in all the facets of pleasure and beauty which the world reveals to you through the several means of contact which Nature provides.”

Helen Keller (1880–1968) American author and political activist

Three Days to See (1933)

Pleasure , World , Beauty , Music

“The world of experience, both physical and psychic, is entirely composed of elements - spatial, tactile, accoustical, thermal, etc. Combinations of these elements make up different "phenomena", both psychic and physical. If the law of causality, inferred for all these phenomena - i. e. for the world of elements connected by various relations - is applicable to "things in themselves" serving as an immediate link between "phenomena" and "things", it is clear that "phenomena" and "things in themselves" are of the same nature. "Things in themselves" would then represent a direct continuation of the world of empirical elements and in fact would be only combinations of elements.”

Alexander Bogdanov (1873–1928) Physician, philosopher, writer

Alexander Bogdanov, cited in: ‎James Patrick Scanlan, (1965). : Pre-revolutionary philosophy and theology. Philosophers in exile. Marxists and Communists. p. 398

World , Law , Nature

“I started above all by producing still-lives because in nature there is a tactile space, I would say almost manual.”

Georges Braque (1882–1963) French painter and sculptor

Source: 1946 - 1963, Cahiers d'art', 1954, p. 16 - In: 'Braque, la peinture et nous'

Nature

“There is an inside and an outside to every form. When they are in special accord, as for instance a nut in its shell or a child in the womb, or in the structure of shells or crystals, or when one senses the architecture of bones in the human figure, then I am most drawn to the effect of light. Every shadow cast by the sun from an ever-varying angle reveals the harmony of the inside to outside. Light gives full play to our tactile perceptions through the experience of our eyes, and the vitality of forms is revealed by the interplay between space and volume”

Barbara Hepworth (1903–1975) English sculptor

Extract from Barbara Hepworth: Carvings and Drawings, (from Chapter 1: The excitement of discovering the nature of carving, 1903-1930), with an introduction by Herbert Read, London, 1952
1947 - 1960

Sense , Light , Sun

“To me, where theater has it all over film is that it’s in the moment, it’s tactile, you feel it …You’re completely immersed in it — right here and right now.”

Julie Taymor (1952) American film and theatre director

As quoted in "KA-POW! Spider-Man: Turn Off the Dark" by Adam Green at Vogue.com

Feeling

“The pre-atomist multisensory void was an animate, pulsating, and moving vibrant interval, neither container nor contained, acoustic space penetrated by tactility.”

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

Source: 1980s, Laws of Media: The New Science (with Eric McLuhan) (1988), p. 34

Animals

“I would like to offer an illustration. Imagine a house which is well designed from a material or practical point of view... Apart from these physio-functional demands, there are also psycho-functional demands which correspond with our optical, phonetic and tactile experiences. Until now, mankind has attempted to satisfy these 'supra-material' demands with a painting on the wall or a sculpture in a room.... the architecture of the future will have to destroy this duality. Its task will be to express completely and fulfill all our demands.”

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

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

Imagination , Future , Painting , Housing

“Audile-tactile space is the space of involvement. We lose "touch" without it. Visual space is the space of detachment.”

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

1970s, Culture Is Our Business (1970)

“In the course of some experiments I conducted from 1954 through 1956 I was suspended in water for several hours at a time, and I noticed that my skin gradually became more and more sensitive to tactile stimuli and an intense sense of pleasure resulted. However, if the stimulation was carried too far it became intensely irritating, I reasoned that the dolphin is suspended in water all of his life, twenty four hours a day, and possibly had developed an intensely sensitive skin.”

John Lilly (1915–2001) American physician

Man and Dolphin (1961), p.172; as quoted in The Sounding of the Whale: Science and Cetaceans in the Twentieth Century (2012), by D. Graham Burnett, p.580

Life , Pleasure , Sense , Water