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“Clothes, when abstracted from the flow of present time and their transmogrifying function on the human body, and seen as forms in themselves, are strange tubes and excrescences worthy of being classed with such facial decorations as the ring through the nose or the lip-stretching disk. But how enchanting they become when seen togetherwith the qualities they bestow on their wearer! What happens then is no less than the infusion, into some tangled lines on a piece of paper, of the meaning of a great word.”

“The sculptor must paint with his chisel; half his touches are not to realize, but to put power into, the form. They are touches of light and shadow, and raise a ridge, or sink a hollow, not to represent an actual ridge or hollow, but to get a line of light, or a spot of darkness.”

“I wanted to start a menswear line of slim-fitting, luxury cashmere jumpers in a range of great colors. I know these jumpers will become season-less staples in my own wardrobe. Cashmere and silk printed scarves and hand-beaded T-shirts compliment the line and form a solid foundation for the collection to grow next season.”

“Fish seem to be rather conservative around this bay, one seldom catches enough to form the fundamental basis for a lie. Dante left out one of the torments of Hades — I could imagine a doomed mortal made to untangle wet fish lines forever. Everybody lost patience at the stupidity of the fish in not coming forward promptly to be murdered.”

“Those dabs of paint and lines become art when form and flow are created out of lower-level perceptual elements. When they combine harmoniously they give rise to perspective, foreground and background, and ultimately to emotion and other aesthetic attributes.”

“The 'Women' had to do with the female painted through all ages, all those idols, and maybe I was stuck to a certain extent; I couldn't go on. It did one thing for me: it eliminated composition, arrangement, relationships, light - all this silly talk about line, colour and form - because that was the thing I wanted to get hold of.”

“Consider paint a film of light reflecting/absorbing material, and a colored paint a material which gives a particular, characteristic transmission of light via differential absorption and reflection. Call this reflected quality 'luminance' and measure it in millilamberts. This measure is as real and present as height, breadth, depth; and I find the phenomenon equally sumptuous and convincing. . . . Painted light, not color, not form, not perspective, or line, not image, or words, or equations, is painting. I make paintings which do not represent light, they are light.”

“I have gained very great inspiration from the Cornish land- and seascape, the horizontal line of the sea and the quality of light and colour which reminds me of the Mediterranean light and colour which so excites one's sense of form; and first and last there is the human figure which in the country becomes a free and moving part of a greater whole. This relationship between figure and landscape is vitally important to me. I cannot feel it in a city.”

“For - to say a few words on technique - whereas the curved line was used predominantly for reasons of beauty, (Phidias, Michelangelo, Raphael, Rubens) it has been used more and more economically for reasons of truth (Millet, Monet, Paul Cézanne) until it will end as the straight line for reasons of Love. This will enable the art of the future to create an international form; a form understandable to all and vital enough to the expression of a general feeling of love in a monumental way. Such is the future.”

“It is useless saying that we do not accept the gods of the primitive world. In form, no; in essence, yes. The fact before us is that all ideas of gods can be traced to the earliest stages of human history.... There is an unbroken line of descent linking the gods of the most primitive peoples to those of modern man. We reject the world of the savage; but we still, in our churches, mosques, synagogues and temples, perpetuate the theories he built upon that world.”

“We can no longer speak of a bourne from which no traveler e'er returns. The middle wall of partition has been broken down and the boundary become but an invisible line by the resurrection of Christ. That He who died has been raised again and ever lives in the form of a complete humanity is the fundamental fact in the revelation of the Christian doctrine of immortality.”

“What quality is shared by all objects that provoke our aesthetic emotions? Only one answer seems possible— significant form. In each, lines and colors combined in a particular way; certain forms and relations of forms, stir our aesthetic emotions. These relations and combinations of lines and colors, these aesthetically moving forms, I call ‘Significant Form’; and ‘Significant Form’ is the one quality common to all works of visual art.”

“Never, never do I set to work on a canvas in the state it comes in from the shop. I provoke accidents - a form, a splotch of color. Any accident is good enough. I let the matiere decide. Then I prepare a ground by, for example, wiping my brushes on the canvas. Letting fall some drops of turpentine on it would do just as well. If I want to make a drawing I crumple the sheet of paper or I wet it; the flowing water traces a line and this line may suggest what is to come next.”

“Brutes gaze on sights, they are arrested by sounds; and what they see and what they hear are sights and sounds only. The intellectof man, on the contrary, energises as well as his eye or ear, and perceives in sights or sounds something beyond them. It seizes and unites what the senses present to it; it grasps and forms what need not be seen or heard except in detail. It discerns in lines and colors, or in tones, what is beautiful and what is not. It gives them a meaning, and invests them with an idea.”

“The question of "unreality"is a very important one. Misled by grammar, the great majority of those logicians who have dealt with this question have dealt with it on mistaken lines. They have regarded grammatical form as a surer guide in analysis than, in fact, it is. And they have not known what differences in grammatical form are important.”

“In the west, Apollo and Dionysus strive for victory. Apollo makes the boundary lines that are civilization but that lead to convention, constraint, oppression. Dionysus is energy unbound, mad, callous, destructive, wasteful. Apollo is law, history, tradition, the dignity and safety of custom and form. Dionysus is the new, exhilarating but rude, sweeping all away to begin again. Apollo is a tyrant, Dionysus is a vandal.”

“So many of the properties of matter, especially when in the gaseous form, can be deduced from the hypothesis that their minute parts are in rapid motion, the velocity increasing with the temperature, that the precise nature of this motion becomes a subject of rational curiosity. Daniel Bernoulli, Herapath, Joule, Kronig, Clausius, &c., have shewn that the relations between pressure, temperature and density in a perfect gas can be explained by supposing the particles move with uniform velocity in straight lines, striking against the sides of the containing vessel and thus producing pressure.”

“I am intrigued with the shapes people choose as their symbols to create a language. There is within all forms a basic structure, an indication of the entire object with a minimum of lines that becomes a symbol. This is common to all languages, all people, all times.”

“I have endeavoured to show that no absolute structural line of demarcation, wider than that between the animals which immediately succeed us in the scale, can be drawn between the animal world and ourselves; and I may add the expression of my belief that the attempt to draw a physical distinction is equally futile, and that even the highest faculties of feeling and of intellect begin to germinate in lower forms of life.”

“McWorld is a product of popular culture driven by expansionist commerce. Its template is American, its form style. Its goods are as much images as matériel, an aesthetic as well as a product line. It is about culture as commodity, apparel as ideology. Its symbols are Harley-Davidson motorcycles and Cadillac motorcars hoisted from the roadways, where they once represented a mode of transportation, to the marquees of global market cafés like Harley-Davidson's and the Hard Rock where they become icons of lifestyle.”

“One of the biggest problems of mathematics is to explain to everyone else what it is all about. The technical trappings of the subject, its symbolism and formality, its baffling terminology, its apparent delight in lengthy calculations: these tend to obscure its real nature. A musician would be horrified if his art were to be summed up as "a lot of tadpoles drawn on a row of lines"; but that"s all that the untrained eye can see in a page of sheet music... In the same way, the symbolism of mathematics is merely its coded form, not its substance.”