Quotes of All Topics . Occasions . Authors
Ever since Marcel Duchamp appropriated mass market objects and pronounced them 'readymades' and Andy Warhol elevated the Campbell's soup can and Brillo Box to art, artists and designers have been blurring the lines between fine art and commerce.
Art is a subjective thing, and it should be a subjective thing. And the difficulty of subjectivity is that it becomes hugely problematized when you start applying large sums of money to art objects. That's where it all starts to get a bit sticky.
If you are in the country, you should notice landmarks - that is, objects which help you to find your way or prevent you getting lost, such as distant hills, church towers, and nearer objects, such as peculiar buildings, trees, gates, rocks, etc.
My home is different from my mother's, because hers is filled with beautiful objects that I was always afraid of breaking. My home is the opposite. Bring on the kids, the dogs, the parties - there's nothing that's so important it can't be broken.
You care enough, that you want your life to be fulfilled in a living way, not in a painting way, not in a writing way... you really do want it to be involving in living, corresponding with other living objects, moving, changing, that kind of thing.
My conviction of the necessity of further legislative provisions for the safe-keeping and disbursement of the public moneys and my opinion in regard to the measures best adapted to the accomplishment of those objects have been already submitted to you.
Physiology is the science which treats of the properties of organic bodies, animal and vegetable, of the phenomena they present, and of the laws which govern their actions. Inorganic substances are the objects of other sciences, - physics and chemistry.
Our grandkids will lead the lives of the gods of mythology. Zeus could think and move objects around. We'll have that power. Venus had a perfect, timeless body. We'll have that, too. Pegasus was a flying horse. We'll be able to modify life in the future.
Pulsars are in an ideal part of the universe to test Einstein's theory of relativity - so far, it's holding up well. They may even one day act as navigational beacons for spacecraft. I'll never tire of them; they really are the most extraordinary objects.
I personally think intellectual property is an oxymoron. Physical objects have a completely different natural economy than intellectual goods. It's a tricky thing to try to own something that remains in your possession even after you give it to many others.
I am jewelry and objects together. This is the Elsa Peretti name to me. It is a very good balance for me to try and create with the person in mind or with the space in mind - to imagine a bowl of fruit or something for water. It is a little bit yin and yang.
In the lab, we could not see or physically describe the mathematical objects that we called quarks, which we suspected were the key to unlocking the dynamics of the strong force that binds together the clump of protons and neutrons at the center of the atom.
Archaeology can be overlooked as a discipline, I think, but it's incredibly important to have this other way of approaching the past - not just through historical documents, but through actual physical remains - objects, buildings and the layout of our towns.
Black holes are very exotic objects. Technically, a black hole puts a huge amount of mass inside of zero volume. So our understanding of the center of black holes doesn't make sense, which is a big clue to physicists that we don't have our physics quite right.
We were totally unprepared for such a large quantity of visitors, and in view of the preservation of the antiquities they being very crowded and in poor preservation, we were obliged to refuse admission until some preparation was made to safeguard the objects.
Appropriation is the idea that ate the art world. Go to any Chelsea gallery or international biennial and you'll find it. It's there in paintings of photographs, photographs of advertising, sculpture with ready-made objects, videos using already-existing film.
Hence, even in the domain of natural science the aid of the experimental method becomes indispensable whenever the problem set is the analysis of transient and impermanent phenomena, and not merely the observation of persistent and relatively constant objects.
There are thousands of asteroids whose orbit in the Solar System crosses that of Earth. And we have a little acronym for them - NEOs: near Earth objects. And our biggest goal is to try to catalogue them, so we know in advance if one is going to put us at risk.
I think it's really easy to approach a touchy subject head-on, but 'Sharp Objects' does it in a way that's subtle and it presents mental illness as something quite common and normalized. It's so common and shouldn't be a conversation we're afraid to talk about.
I am a fashion designer. I'm not an environmentalist. When I get up in the morning, number one I'm a mother and a wife, and number two I design clothes. So the main thing I need to do is create, hopefully, exquisitely beautiful, desirable objects for my customer.
A museum is like a valuing machine. Museums and the industrial society started at the same moment, and they're really tied into each other. They've been all about displaying objects and the kind of wealth that can be derived from objects and promoting that point.
I believe that the purpose for which I and my fellow soldiers entered upon this war should have been so clearly stated as to have made it impossible to change them, and that, had this been done, the objects which actuated us would now be attainable by negotiation.
The steel workers have now buried their dead, while the widows weep and watch their orphaned children become objects of public charity. The murder of these unarmed men has never been publicly rebuked by any authoritative officer of the state or federal government.
The impulse for me to want to make sculpture is because I want to make statements, really, on a purely emotional level. And it's also somewhat of a challenge to see how that can be done with materials and objects that really are not emotional, in and of themselves.
By far the greatest part of those goods which are the objects of desire, are procured by labour; and they may be multiplied, not in one country alone, but in many, almost without any assignable limit, if we are disposed to bestow the labour necessary to obtain them.
Drones ply the liminal space between the physical and the digital - pilots fly them, but aren't in them. They are versatile and fascinating objects - the things they can do range from the mundane (aerial photography) to the spectacular - killing people, for example.
The mind is never satisfied with the objects immediately before it, but is always breaking away from the present moment, and losing itself in schemes of future felicity... The natural flights of the human mind are not from pleasure to pleasure, but from hope to hope.
I made physical objects because I know how to do something on the computer. That struck a chord with me: Most women of my generation have grown up with technology but lack the handmade creative skills of former generations. This is a big opportunity to fill that gap.
Back when I was a professional model-maker at Industrial Light & Magic, my specialty was hard-edged construction - spaceships, miniature sets, and architectural stuff. These objects were sometimes just 12 inches across yet needed enough detail to fill a movie screen.
I started using contact microphones that you can place on common, ordinary objects, like a rake. I put a microphone on it and it picked up the tines vibrating and turned it into a horrible din. What attracted me to it was the horrible din - that's what I really liked.
Good design should be available to everyone - and I do mean everyone. What I spent on the wheelchair I'm in could buy a small Mercedes. It's not only unfair to me; it's unfair to someone who's indigent but has the same needs. My goal is to make all objects affordable.
What difference is there, do you think, between those in Plato's cave who can only marvel at the shadows and images of various objects, provided they are content and don't know what they miss, and the philosopher who has emerged from the cave and sees the real things?
In truth, to know oneself seems to be the hardest of all things. Not only our eye, which observes external objects, does not use the sense of sight upon itself, but even our mind, which contemplates intently another's sin, is slow in the recognition of its own defects.
Despite a certain amount of rhetoric, such as 'the second American Revolution,' there is a fair consensus about which events in the affairs of a people can rightly be called revolutions. It is also clear that such revolutions are proper objects of study for the historian.
In our will, there lives something which is perpetually observing us inwardly. It is easy to look upon this inner spectator as something intended to be taken pictorially; the spiritual investigator knows it to be a reality, just as sense-perceptible objects are realities.
I'm interested in finding whether or not there is a really massive, what we like to call 'super massive' black hole at the center of our galaxy. And the reason this is interesting is that it gives us an opportunity to prove whether or not these exotic objects really exist.
It's possible to let technology absorb what we know and then re-express it in intricate mechanisms - parts and circuit boards and software objects - mechanisms we can use but do not understand in crucial ways. This not-knowing is fine while everything works as we expected.
The divisions of Perspective are 3, as used in drawing; of these, the first includes the diminution in size of opaque objects; the second treats of the diminution and loss of outline in such opaque objects; the third, of the diminution and loss of colour at long distances.
Ironically, while many of us spend hours every day using small mobile devices to increase our productivity and efficiency, interacting with these objects, even for short periods of time, might do just the opposite, reducing our assertiveness and undermining our productivity.
Time, which runs through the world like an endless tinsel thread, seemed to pass through the centre of this room and through the centre of these people and suddenly to pause and petrify, stiff, still and glittering... and the objects in the room drew a little closer together.
But when others suggested that the poor should not simply be the objects of these programs but also the subjects - that they should be actively involved in shaping the programs, making decisions about how to spend the money etc. - some of the previous supporters reconsidered.
Till 1782, I believed in the doctrine of Calvin: that is, that the majority of mankind were objects of divine condemnation and that their punishment would be everlasting. The 'Systeme de la Nature,' read about the beginning of that year, changed my opinion and made me a Deist.
I'm probably borderline OCD. I insist on having all objects at right angles to each other. So a fork has to be at a right angle to the knife on the table. The salt and pepper pots have to be placed close together. Only recently have I started to notice it's a weird way to behave.
I am writing a book called 'The History of Australia in Hundred Objects.' It's of things we have invented in Australia. And you know, some of them are amazing. We invented the clapper boards used in films. We invented those cranes - those big long cranes used on construction sites.
When I turned 40, I noticed I couldn't read the label on the back of a jar of food - it turned to be the result of presbyopia where the lens of the eye loses its ability to focus on near objects due to age. So now I wear multifocal contact lenses - and they've been a real blessing.
My artistic decision to cast my mother's objects into bronze moves beyond the notions of memorializing her. I've been fascinated for some time with the idea of monumentality and what it means to memorialize. Both of these notions are relevant historically, artistically, and culturally.
In the United States, man does not feel that he has been torn from the center of creation and suspended between hostile forces. He has built his own world, and it is built in his own image: it is his mirror. But now he cannot recognize himself in his inhuman objects, nor in his fellows.
Imagining themes that are specific to coating lines, shapes, shades, thoughts, the decoration of our homes and the objects of utility or pure pleasure, adapting its purpose in a material-specific way to metal or wood, marble or fabric - it is, without any doubt, an absorbing occupation.
The singular point of beautiful objects, and people, is that they are experienced not as parts, or ratios between cheekbones and chin, but as wholes. The experience of beauty is a perception, but it is one that mixes up various other sensations and makes them converge in a particular way.
Being a strongman is a real test of functional strength. What can you pick up, carry and how fast can you move it. It's not a weight room strength, it takes brute strength and power to lift, carry and pull all types objects from fire engines, Mack trucks, transport planes and large stones.