
Quoted from the Gambas Website, http://gambas.sourceforge.net/introduction.html http://gambas.sourceforge.net/introduction.html
Quoted from the Gambas Website, http://gambas.sourceforge.net/introduction.html http://gambas.sourceforge.net/introduction.html
"Cornel West interviewed by bell hooks" in Breaking Bread: Insurgent Black Intellectual Life (1991)
Quote, 1950, in: Fernand Léger - The Later Years, catalogue ed. Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 58
Quotes of Fernand Leger, 1950's
Stephen M. Kosslyn, "Mental images and the brain." Cognitive Neuropsychology 22.3-4 (2005): p. 334
as quoted in 'Tàpies: From Within', June/November 2013 - Presse Release text, Museu Nacional d'Art de Catalunya (MNAC), p. 9
1971 - 1980, Memòria Personal', 1977
Source: 1980s, Laws of Media: The New Science (with Eric McLuhan) (1988), p. 40
Quoted by Michael Mallory in " Firsts Among Equals http://www.animationmagazine.net/top-stories/firsts-among-equals/", Animation Magazine (March 6th, 2014).
Source: Mental images and their transformations. 1982, p. 178; as cited in Niall (1997)
Source: The Apophenion (2008), p. 11; this makes reference to William Blake's Auguries of Innocence: "To see the world in a grain of sand…"
Quote from: 'Basic Premises'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)
Source: Quotes 1960s-1980s, 1980s, Rules and Representations (1980), p. 4.
Source: 1960s, The Economics of the Coming Spaceship Earth, 1966, p. 3
Book II, Chapter 6, p. 302
The Origin of Consciousness in the Breakdown of the Bicameral Mind (1976)
Concepts
1910's
Source: 'How I see New York', in 'The New York American', New York 30 March 1913, p. 11
Gorky's quote refers to the heavy swift in modern art because of the appearance of Cubism
1942 - 1948
Source: 'Camouflage', 1942; an announcement for a teaching program [set up by Gorky and the director of the Grand Central School of Art, Edmund Greasen]
'Search for the Real in the Visual Arts', p. 41
Search for the Real and Other Essays (1948)
This is part of the pity of Modernism, one of the sacrifices it enjoins....
"Detached Observations" http://www.sharecom.ca/greenberg/detached.html, Arts Magazine (December 1976)
1970s
Source: Exploratory cartographic visualization: advancing the agenda (1997), p. 1
"Facing Up to the Problem of Consciousness," 1995
Santa Barraza, Artist of the Borderlands (2001)
As quoted in Hans Hofmann (2000) by James Yohe
1970s and later
“I myself regard the deaf people as superheroes, protectors of the visual language”
Source: As quoted in «Sign Gene», al cinema arrivano i supereroi sordi mutanti http://www.corriere.it/salute/disabilita/17_settembre_12/sign-gene-cinema-arrivano-supereroi-sordi-mutanti-92d2f6a2-97cb-11e7-8ca4-27e7bbee7bdd.shtml (September 12, 2017), Corriere della Sera)
Source: Cognitive Psychology, 1967, p. 103; As cited in: A.H.C. Van der Heijden (1996)
Quoted in "Funny Ladies: The Best Humor from America's Funniest Women", p. 7 http://books.google.co.uk/books?id=KOVGUVYj2XUC&pg=PA7&dq=%22I'm+not+as+klutzy+as+I+used+to+be%22&hl=en&sa=X&ei=Jfz6Tt78KpSm8gPfwpXeCA&ved=0CDEQ6AEwAA#v=onepage&q=%22I'm%20not%20as%20klutzy%20as%20I%20used%20to%20be%22&f=false
Thompson on the superiority of <tt>ed</tt> to editors such as today's <tt>vi</tt> or <tt>emacs</tt>, as summarized by Peter Salus in A Quarter Century of UNIX (Addison-Wesley, 1994). http://web.archive.org/web/20080103071208/http://www.dcs.qmul.ac.uk/~george/history/
Source: Exploratory cartographic visualization: advancing the agenda (1997), p. 1
Quoted from Lal, K. S. (1999). Theory and practice of Muslim state in India. New Delhi: Aditya Prakashan. Chapter 5 (quoting Gordon Sanderson, 'Archaeology at the Qutb', Archaeological Survey of India Report, 1912-13; Ibn Battutah)
John Sweller, Jeroen van Merrienboer, and Fred Paas. "Cognitive architecture and instructional design." Educational psychology review 10.3 (1998): 251-296.
Writing the president of the US Naval War College shortly after World War II. Quoted by Donald C. Winter, Secretary of the Navy http://www.navy.mil/navydata/people/secnav/winter/SECNAV_Remarks_NWC_Current_Strategy_Forum.pdf]
Robinson (1988) in The New York Times as cited in: John Noble Wilford (2004) " Arthur H. Robinson, 89, Geographer Who Reinterpreted World Map, Dies http://www.nytimes.com/2004/11/15/obituaries/15robinson.html?_r=0" in: The New York Times November 15, 2004: About the development of the Robinson projection.
Source: How Maps Work: Representation, Visualization, and Design (1995), p. 368
Source: Life Itself : A Memoir (2011), Ch. 54 : How I Believe In God
Source: 1960s, The Gutenberg Galaxy (1962), p. 180
Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.
In 'Artist's Voice', Kuh; p. 89; as quoted in Writings of Marcel Duchamp, Sanouillet and Peterson, p. 125
posthumous
Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.
in Henry Moore on Sculpture, James, Philip, New York: Viking Press, (1967), p. 68
1955 - 1970
"Muller Bros. Moving & Storage", pp. 200–201
Eight Little Piggies (1993)
Principles of Modern Chemistry (7th ed., 2012), Ch. 1 : The Atom in Modern Chemistry
1970s, Culture Is Our Business (1970)
Deschin, Jacob. "Nature as it is". New York Times (1857-Current file); Feb 3, 1952; Proquest Historical Newspapers The New York Times (1851 - 2002) pg. X14
Glad Tidings
Song lyrics, Moondance (1970)
Theo Jansen, quoted in: " 2015 International Kinetic Art Exhibit & Symposium - Boynton Beach, FL, USA http://intlkineticartevent.org/?page_id=107," 2015
Bacon, like Grosseteste, asserts that both the active extramitted species of vision from the eye, and the intramitted species of light from object seen, were necessary for sight.
v. i. vii. 4, ed. Briggs as quoted in A.C. Crombie, Robert Grossetest and the Origins of Experimental Science 1100-1700 (1953)
Opus Majus, c. 1267
The American Pageant Revisited, p. 9
Source: On Human Communication (1957), What Is It That We Communicate?, p. 10
Boccioni is referring in this quote to the 'Manifesto of Futurist Painters' of 1910, and its core Futurist concept of dynamic sensation; p. 47.
1912, Les exposants au public', 1912
Source: The Cybernetic Sculpture of Tsai Wen-Ying, 1989, p. 66-67
1960s, Through the Vanishing Point (1968)
1960s, The Gutenberg Galaxy (1962)
1950s, Tradition and Identity' (1959)
quote from Marcel Duchamp, by Kynaston McShine, 1989; as quoted on Wikipedia: Marcel Duchamp
posthumous
Source: 1960s, The Gutenberg Galaxy (1962), p. 288
Rave UK Magazine, June 1967
Music
Source: 1980s, Laws of Media: The New Science (with Eric McLuhan) (1988), p. 43
Source: The Complex Vision (1920), Chapter I
Context: One of the curious psychological facts, in connection with the various ways in which various minds function, is the fact that when in these days we seek to visualize, in some pictorial manner, our ultimate view of life, the images which are called up are geometrical or chemical rather than anthropomorphic. It is probable that even the most rational and logical among us as soon as he begins to philosophize at all is compelled by the necessity of things to form in the mind some vague pictorial representation answering to his conception of the universe.
Most minds see the universe of their mental conception as something quite different from the actual stellar universe upon which we all gaze. Even the most purely rational minds who find the universe in "pure thought" are driven against their rational will to visualize this "pure thought" and to give it body and form and shape and movement.
“In schools, print shifted the emphasis from oral to written and visual communication.”
Teaching as a Subversive Activity (1969)
Context: In schools, print shifted the emphasis from oral to written and visual communication. Teachers who had been only partly concerned within instructing their students in how to read became by the mid-sixteenth century concerned with almost nothing else. Since the sixteenth century, the textbook has been a primary source of income for book publishers. Since the sixteenth century, written examinations and written assignments have been an integral part of the methodology of school teaching; and since the sixteenth century, the image of the isolated student who reads and studies by himself, has been the essence of our conception of scholarship. In short, for 400 years Western civilization has lived in what has been characterized as the "Age of Gutenberg." Print has been the chief means of our information flow. Print has shaped our literature and conditioned our responses to literary experience. Print has influenced our conception of the educational process. But... print no longer "monopolizes man's symbolic environment," to use David Riesman's phrase. That monopoly began to dissolve toward the middle of the nineteenth century, when a more or less continuous stream of media inventions began to make accessible unprecedented quantities of information and created new modes of perception and qualities of aesthetic experience....1839... Daguerre developed the first practical method of photography. In 1844, Morse perfected the telegraph. In 1876, Bell transmitted the first telephone message. A year later, Edison invented the phonograph. By 1894, the movies had also been introduced. A year after that, Marconi sent and received the first wireless message. In 1906, Fessenden transmitted the human voice by radio. In 1920, regularly scheduled radio broadcasts began. In 1923, a picture was televised between New York and Philadelphia. In that same year, Henry Luce and Briton Hadden created a totally new idea in magazines with Time. In 1927, the first "talkie" appeared; and in 1923, Disney's first animated cartoon. In 1935, Major E. H. Armstrong developed the FM radio. In 1936 came Life magazine. In 1941, full commercial television was authorized. These are just some of the inventions that form a part of the "communications revolution" through which we are all living. To these, of course could be added the LP record, the tape recorder, the comic strip, the comic book, the paperback book.... the point here is... that the perceptual-cognitive effects on us of the form of these new languages be understood.
Ch 1
A Canticle for Leibowitz (1959), Fiat Homo
Context: He had never seen a "Fallout," and he hoped he'd never see one. A consistent description of the monster had not survived, but Francis had heard the legends. He crossed himself and backed away from the hole. Tradition told that the Beatus Leibowitz himself had encountered a Fallout, and had been possessed by it for many months before the exorcism which accompanied his Baptism drove the fiend away.
Brother Francis visualized a Fallout as half-salamander, because, according to tradition, the thing was born in the Flame Deluge, and as half-incubus who despoiled virgins in their sleep, for, were not the monsters of the world still called "children of the Fallout"? That the demon was capable of inflicting all the woes which descended upon Job was recorded fact, if not an article of creed.
Source: The Management of Innovation, 1961, p. 5; as cited in: David Dugdale, Stephen Lyne. Budgeting Practice and Organisational Structure. Elsevier, 18 jan. 2010. p. 68-69
Context: In mechanistic systems the problems and tasks facing the concern as a whole are broken down into specialisms. Each individual pursues his task as something distinct from the real tasks of the concern as a whole, as if it were the subject of a subcontract. "Somebody at the top" is responsible for seeing to its relevance. The technical methods, duties, and powers attached to each functional role are precisely defined. Interaction within management tends to be vertical, i. e., between superior and subordinate... Management, often visualized as the complex hierarchy which is familiar in organization charts, operates a simple control system, with information flowing up through a succession of filters, and decisions and instructions flowing downwards through a succession of amplifiers.
Tribute to David Bowie, in "David Bowie, as remembered by…" in The Guardian (17 January 2016) https://www.theguardian.com/music/2016/jan/17/david-bowie-as-seen-by-deborah-harry-chris-kate-bush-stein-carlos-alomar-julien-temple-edwyn-collins
Context: David Bowie had everything. He was intelligent, imaginative, brave, charismatic, cool, sexy and truly inspirational both visually and musically. He created such staggeringly brilliant work, yes, but so much of it and it was so good. There are great people who make great work but who else has left a mark like his? No one like him.
The Paris Review interview (1984)
Context: Beckett shows death; his people are in dustbins or waiting for God. (Beckett will be cross with me for mentioning God, but never mind.) Similarly, in my play The New Tenant, there is no speech, or rather, the speeches are given to the Janitor. The Tenant just suffocates beneath proliferating furniture and objects — which is a symbol of death. There were no longer words being spoken, but images being visualized. We achieved it above all by the dislocation of language. … Beckett destroys language with silence. I do it with too much language, with characters talking at random, and by inventing words.
The Development of Quantum Mechanics (1933)
Context: However the development proceeds in detail, the path so far traced by the quantum theory indicates that an understanding of those still unclarified features of atomic physics can only be acquired by foregoing visualization and objectification to an extent greater than that customary hitherto. We have probably no reason to regret this, because the thought of the great epistemological difficulties with which the visual atom concept of earlier physics had to contend gives us the hope that the abstracter atomic physics developing at present will one day fit more harmoniously into the great edifice of Science.
“He does not hesitate to assent to an opinion… that visual rays proceed from the eye”
Period I To the Revival of Letters in Erope
The History and Present State of Discoveries Relating to Vision, Light, and Colours (1772)
Context: Great as Bacon was, he was far from being free from the mistakes and prejudices of those who went before him. Even some of the most wild and absurd opinions of the antients have the sanction of his approbation and authority. He does not hesitate to assent to an opinion... that visual rays proceed from the eye; giving this reason for it, that every thing in nature is qualified to discharge its proper functions by its own powers, in the same manner as the sun, and other celestial bodies. He acknowledges, however, that the presence of light, as well as several other circumstances, is necessary to vision.
“As I visualize it, the business of the future will be a scientific, social and economic unit.”
Congressional testimony (1945)
Context: As I visualize it, the business of the future will be a scientific, social and economic unit. It will be vigorously creative in pure science where its contributions will compare with those of the universities... the machinist will be proud of and informed about the company's scientific advances; the scientist will enjoy the reduction to practice of his basic perceptions. … year by year our national scene would change in the way, I think, all Americans dream of. Each individual will be a member of a group small enough so that he feels a full participant in the purpose and activity of the group. His voice will be heard and his individuality recognized.
David Bomberg "The Bomberg Papers", ed. Patrick Swift, X: A Quarterly Review, Vol 1, No 3, June 1960
Context: Speaking generally Art endevours to reveal what is true and needs to be free. All things said regarding Art are subject to contradiction. An artist whose integrity sustains his strength to make no compromise with expediency is never degraded. His life work will resemble the integrating character of the primaries in the Spectrum. At the beginning, of the middle period, and at the end… I approach drawing solely for structure. I am perhaps the most unpopular artist in England – and only because I am draughtsman first and painter second. Drawing demands a theory of approach, until good drawing becomes habit – it denies all rules. It requires high discipline… Drawing demands freedom, freedom demands liberty to expand in space – this is progress. By the extension of democracy – good draughtsmanship is – Democracy’s visual sign. To draw with integrity replaces bad habits with good, youth preserved from corruption. The hand works at high tension and organises as it simplifies, reducing to barest essentials, stripping all irrelevant matter obstructing the rapidly forming organisation which reveals the design. This is drawing.
Human Nature and Social Theory (1969)
Context: What about the utopian thinkers of all ages, from the Prophets who had a vision of eternal peace, on through the Utopians of the Renaissance, etc.? Were they just dreamers? Or were they so deeply aware of new possibilities, of the changeability of social conditions, that they could visualize an entirely new form of social existence even though these new forms, as such, were not even potentially given in their own society? It is true that Marx wrote a great deal against utopian socialism, and so the term has a bad odor for many Marxists. But he is polemical against certain socialist schools which were, indeed, inferior to his system because of their lack of realism. In fact, I would say the less realistic basis for a vision of the uncrippled man and of a free society there is, the more is Utopia the only legitimate form of expressing hope. But they are not trans-historical as, for instance, is the Christian idea of the Last Judgment, etc. They are historical, but the product of rational imagination, rooted in an experience of what man is capable of and in a clear insight into the transitory character of previous and existing society.
Devdutt Pattanaik in: The Rise of Alakshmi http://devdutt.com/articles/modern-mythmaking/the-rise-of-alakshmi.html, Speaking Tree, The Times of India, 2 May 2010, Retrieved 7 September 2017
Source: On writing a comic versus a novel in “Marjorie Liu on the Road to Making Monstress” https://www.theatlantic.com/entertainment/archive/2017/09/marjorie-liu-monstress-interview/539394/ in The Atlantic (2017 Sep 14)
On using various mediums to highlight an experience in “Schizophrenia Terrifies: An Interview with Esmé Weijun Wang” https://www.theparisreview.org/blog/2019/02/04/schizophrenia-terrifies-an-interview-with-esme-weijun-wang/ in The Paris Review (2019 Feb 4)
Aquarelle - Experiences of a Practitioner, Alfred Freddy Krupa , MB-Tisak (Croatia), 1994
1990s
On how she describes plays in “Making Invisible Stories Seen, Heard and Felt Interview with Caridad Svich” http://www.critical-stages.org/3/making-invisible-stories-seen-heard-and-felt-interview-with-caridad-svich/ in The IATC webjournal/Revue web de l'AICT – Autumn 2010: Issue No 3
Book II, Chapter 2, p. 182
The Origin of Consciousness in the Breakdown of the Bicameral Mind (1976)
'Search for the Real in the Visual Arts', p. 43
Search for the Real and Other Essays (1948)
“What, you mean like every single one of them?”
Source: Short fiction, The Man Who Sold The Moon (2014), p. 149 (ellipsis represents a brief elision of text)
American Normal: The Hidden World of Asperger Syndrome
Under the Influence: Anna Biller on DONKEY SKIN - 14 Feb 2017, at 4 Min 02 Sec https://www.youtube.com/watch?v=DD9MrwcE7o8
From interview with The Criterion Collection
On the “other” status of Latinos in “Esai Morales On Latinos, Hollywood and Trump” https://www.nbcnews.com/news/latino/esai-morales-latinos-hollywood-trump-n426866 in NBC News (2015 Sep 17)
Pg 16
The Menace of the Herd (1943)
Source: On how she uses visualization in her writings in “Interview with Donna Tartt” https://medium.com/@Powells/interview-with-donna-tartt-8d86a2438b41 in Medium (2015 Jul 13)
Source: Conceptual Art, (1984), as cited in: " Ian Wilson, plug in #47; exhibition 27/09/2008 - 08/03/2009 http://vanabbemuseum.nl/en/programme/detail/?tx_vabdisplay_pi1%5Bptype%5D=18&tx_vabdisplay_pi1%5Bproject%5D=349 at Van Abbemuseum.nl, The Netherlands.
The Artist's Iron Man: a Life in Sculpture and Film http://www.iitaly.org/magazine/focus/art-culture/article/artists-iron-man-life-in-sculpture-and-film (June 30, 2008)
In Joy Still Felt (1980), p. 217
General sources