Quotessence
Home / Topics / Objects Quotes

Objects Quotes

Browse 4503 quotes about Objects.

Related topics

Objects Quotes

“We should not be content to say that power has a need for such-and-such a discovery, such-and-such a form of knowledge, but we should add that the exercise of power itself creates and causes to emerge new objects of knowledge and accumulates new bodies of information. ... The exercise of power perpetually creates knowledge and, conversely, knowledge constantly induces effects of power. ... It is not possible for power to be exercised without knowledge, it is impossible for knowledge not to engender power.”

“I shall never pay a dollar of your unjust penalty. All the stock in trade I possess is a $10,000 debt, incurred by publishing my paper - The Revolution - four years ago, the sole object of which was to educate all women to do precisely as I have done, rebel against your man-made, unjust, unconstitutional forms of law, that tax, fine, imprison and hang women, while they deny them the right of representation in the government... And I shall earnestly and persistently continue to urge all women to the practical recognition of the old revolutionary maxim, that "Resistance to tyranny is obedience to God."”

“And it may be that a crowd at a particular moment of history creates the object to justify its gathering, as it did at the first Human Be-In and Monterey Pop and Woodstock. Or it may be that two generations of war and surveillance had left people craving the embodiment of their own unease in the form of a lone, unsteady man on a slide guitar.”

“In our quest to quickly make three-dimensional objects, we can miss out on the experience of making something that helps give us our first understandings of form and material, of the way a material behaves--'I press too hard here, and it breaks here' and so on. Some of the digital rendering tools are impressive, but it's important that people still really try and figure out a way of gaining direct experience with the materials.”

“Since man does not create physical matter, those who handle material objects in the production process are not producers in that sense. Economic benefits result from the transformation of matter in form, location, or availability (intellectually or temporally). It is these transformations that create economic benefits valued by consumers, and whoever arranges such transformations contributes to the value of things, whether his hands actually come into contact with physical objects or not.”

“There must be a union between the spirit in wood and the spirit in man. The grain of the wood must relate closely to its function. The abutment of the edge of one board to an adjoining board can mean the success or failure of a piece. () Gradually a form evolves, much as nature produces the tree in the first place. The object created can live forever. The tree lives on in its new form. The object cannot follow a transitory “style”, here for a moment, discarded the next. Its appeal must be universal. Cordial and receptive, it should invite a meeting with man”

“When human men hold an object that makes a powerful noise, or has moving parts, or spins around fast, or has a button they can push (which either screws or nails something) they become Gods in their own heads.They can do anything: they can eat through walls and bring buildings together to form mighty empires.They can build floating cities and flying tin cans.But they still can't make their own beds.”

“Natural writers will often try to force themselves into a form - novel, story, screenplay, or poem - that is not necessarily the appropriate form for the way they see the world... if, in fact, they are writing from the artist's impulse, which is a deep, inchoate vision of some sort of order behind the apparent chaos of life on planet earth, they'll be driven then to express that vision in the creation of the object - the art object.”

“In every remodelling of the present, the existing condition of things must be supplanted by a new one. Now every variety of circumstances in which men find themselves, every object which surrounds them, communicates a definite form and impress to their internal nature. This form is not such that it can change and adapt itself to any other a man may choose to receive; and the end is foiled, while the power is destroyed, when we attempt to impose upon that which is already stamped in the soul a form which disagrees with it.”

“The individual representation of the object, treated sympathetically or antipathetically, is highly necessary and is an enrichment to the world in form. The elimination of the human relationship causes the vacuum which makes all of us suffer in various degrees - an individual alteration of the details of the object represented is necessary in order to display on the canvas the whole physicals reality.”

“Colour, as the strange and magnificent expression of the inscrutable spectrum of Eternity, is beautiful and important to me as a painter; I use it to enrich the canvas and to probe more deeply into the object. Colour also decided, to a certain extent, my spiritual outlook, but it is subordinated to life, and above all, to the treatment of form. Too much emphasis on colour at the expense of form and space would make a double manifestation of itself on the canvas, and this would verge on craft work.”

“The whole Renaissance tradition is antipethic to me. The hard-and-fast rules of perspective which it succeeded in imposing on art were a ghastly mistake which it has taken four centuries to redress; Cezanne and after him Picasso and myself can take a lot of credit for this. Scientific perspective forces the objects in a picture to disappear away from the beholder instead of bringing them within his reach as painting should.”

“How a designer gets from thought to thing is, at least in broad strokes, straightforward: (1) A designer conceives a purpose. (2) To accomplish that purpose, the designer forms a plan. (3) To execute the plan, the designer specifies building materials and assembly instructions. (4) Finally, the designer or some surrogate applies the assembly instructions to the building materials. What emerges is a designed object, and the designer is successful to the degree that the object fulfills the designer's purpose.”

“Marcel Duchamp, one of this century's pioneers, moved his work through the retinal boundaries which had been established with Impressionism into a field where language, thought and vision act upon one another. There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art... He declared that he wanted to kill art ("for myself") but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, a "new thought for that object."”

“The constitutionality and propriety of the Federal Government assuming to enter into a novel and vast field of legislation, namely, that of providing for the care and support of all those ... who by any form of calamity become fit objects of public philanthropy. ... I cannot find any authority in the Constitution for making the Federal Government the great almoner of public charity throughout the United States. To do so would, in my judgment, be contrary to the letter and spirit of the Constitution and subversive of the whole theory upon which the Union of these States is founded.”

“Most of us agree that the United Nations is the vanguard of a foreign invasion and must be driven from our shores. Liberalism - Progressivism - all forms of left wing collectivism, are equally alien to the Founders' America and must be extirpated, root and branch, laughter and derision being the most effective weapons. Look at the way they have reduced Hillary Clinton to an insignificant greasy spot on the pages of history, turned Albert Gore into an object of merriment, and are accomplishing the same for Barry and Micky Obama.”

“It should also be born in mind that the research on 'movement' and the dynamic outlook on the world, which were the basis of Futurist theory, in no way required one to paint nothing but speeding cars or ballerinas in action; for a person who is seated, or an inanimate object, though apparently static, could be considered dynamically and suggest dynamic forms. I may mention as an example the 'Portrait of Madame S.' (1912) and the 'Seated Woman' (1914).”

“What is essential to understand at this point is that until now there was no such thing as mind and matter, subject and object, form and substance. Those divisions are just dialectical inventions that came later...They are just ghosts, immortal gods of the modern mythos which appear to us to be real because we are within that mythos. But in reality they are just as much an artistic creation as the anthropomorphic gods they replaced.”

“Fashion is not a real element of beauty in external objects; and to persons who possess a good endowment of Form, Constructiveness and Ideality, intrinsic elegance is much more pleasing and permanently agreeable, than forms of less merit, recommended merely by being new. Hence there is a beauty which never palls, and there are objects over which fashion exercises no control.”

“In all these products, whether iron bridges, locomotives, automobiles, telescopes, cottages, airport-hangars, funicular railways, skyscrapers, or children's toys, the will towards a new style expresses itself. The similarity of these examples to the new creations in art consists in the same striving for clear, pure form which expresses truth in the objects.”

“It is an impressive truth that sometimes in the very lowest forms of duty, less than which would rank a man as a villain, there is, nevertheless the sublimest ascent of self-sacrifice. To do less would class you as an object of eternal scorn, to do so much presumes the grandeur of heroism.”

“Indeed, all things move, all things run, all things are rapidly changing. A profile is never motionless before our eyes, but it constantly appears and disappears. On account of the persistency of an image upon the retina, moving objects constantly multiply themselves; their form changes like rapid vibrations, in their mad career. Thus a running horse has not four legs, but twenty, and their movements are triangular.”

“The bizarre but all too common transformation of the woman artist from a producer in her own right into a subject for representation forms a leitmotif in the history of art. Confounding subject and object, it undermines the speaking position of the individual woman artist by generalizing her. Denied her individuality, she is displaced from being a producer and becomes instead a sign for male creativity.”

“I have always considered Christianity as the strong ground of republicanism. The spirit is opposed, not only to the splendor, but even to the very forms of monarchy, and many of its precepts have for their objects republican liberty and equality as well as simplicity, integrity, and economy in government. It is only necessary for republicanism to ally itself to the Christian religion to overturn all the corrupted political and religious institutions of the world.”

“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.”

“If thinking is like perceiving, it must be either a process in which the soul is acted upon by what is capable of being thought, or a process different from but analogous to that. The thinking part of the soul must therefore be, while impassable, capable of receiving the form of an object; that is, must be potentially identical in character with its object without being the object. Mind must be related to what is thinkable, as sense is to what is sensible.”

“Upon the whole, necessity is something, that exists in the mind, not in objects; nor is it possible for us ever to form the most distant idea of it, consider'd as a quality in bodies. Either we have no idea of necessity, or necessity is nothing but that determination of thought to pass from cause to effects and effects to causes, according to their experienc'd union.”

“It is easy to see, though it scarcely needs to be pointed out, since it is involved in the fact that Reason is set aside, that faith is not a form of knowledge; for all knowledge is either a knowledge of the eternal, excluding the temporal and historical as indifferent, or it is pure historical knowledge. No knowledge can have for its object the absurdity that the eternal is the historical.”

“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.”

“Among the innumerable mortifications which waylay human arrogance on every side may well be reckoned our ignorance of the most common objects and effects, a defect of which we become more sensible by every attempt to supply it. Vulgar and inactive minds confound familiarity with knowledge and conceive themselves informed of the whole nature of things when they are shown their form or told their use; but the speculatist, who is not content with superficial views, harasses himself with fruitless curiosity, and still, as he inquires more, perceives only that he knows less.”