Space Quotes - page 33
I met him Cummingham around 1953 after a performance I saw. He was teaching and making dances for his company and was already working with John Cage. What interested me initially wasn't just the movement but also the music he worked with, which was unfamiliar to me... Later Bob Rauschenberg had been doing sets and costumes for the Cunningham Company... I can't say exactly how, but for a period of time, Cage, Cunningham, Rauschenberg, and I saw each other frequently and exchanged ideas. John [Cage] was very interested in presenting his ideas to other people, so it was impossible to be around and not to learn... He could apply his ideas on space and time to painting, or music or architecture... I don't have a clear sense of cause and effect in my painting, but it is probably there.
Jasper Johns
While the geneticists were disproving many of Darwin's ideas, the palaeontologists were determining the actual historical facts of evolution. ...they were able to verify the law of succession, first explicitly given by Darwin's colleague Wallace. "Every species has come into existence coincident, both in time and space, with a pre-existing closely allied species."
J. B. S. Haldane
Among the many senses that modern painters have lost, we must number the sense of architecture. The edifice accompanying the human figure, whether alone or in a group, whether in a scene from life or in an historical drama, was a great concern of the ancients. They applied themselves to it with loving and severe spirit, studying and perfecting the laws of perspective. A landscape enclosed in the arch of a portico or in the square or rectangle of a window acquires a greater metaphysical value, because it is solidified and isolated from the surrounding space. Architecture completes nature.
Giorgio de Chirico
Perfect knowledge of the space an object should occupy in a picture, and of the space that separates one object from another, establishes a new astronomy of things attached to our planet by the magic law of gravity. Canons of the Metaphysical aesthetic lie in the minutely-accurate and precisely-estimated use of surfaces and volumes.. ..We are building in paint a new Metaphysical psychology of things.
Giorgio de Chirico
In 1942 when I was in New York, I was struck by the neon advertisements flashing all over Broadway. You are there, you talk to someone, and all of a sudden he turns blue. Then the colour fades - another one comes and turns him red or yellow. The colour – the colour of neon advertising is free; it exists in space. I wanted to do the same in my canvases.
Fernand Léger
Respectable scientists like de Broglie himself accept wave mechanics because it confers coherence and unity upon the experimental findings of contemporary science, and in spite of the astonishing changes it implies in connection with ideas of causality, time, and space, but it is because of these changes that it wins favor with the public. The great popular success of Einstein was the same thing. The public drinks in and swallows eagerly everything that tends to dispossess the intelligence in favor of some technique; it can hardly wait to abdicate from intelligence and reason and from everything that makes man responsible for his destiny.
Simone Weil
Metaphors of space have always been introduced into painting, the play of fullness and emptiness, volumes, surfaces, light and shade.. .And, in recent painting, in particular, the notion of 'emptiness' has assumed great significance.. .This interest in emptiness, in nothingness, is found in many disciplines, in particular in an important sector of modern philosophy. We know, for example, that the philosophers such as Heidegger or Sartre have, at a given moment, made nothingness the center of their thought...
Antoni Tàpies
A cross could be a shape for expressing something spacious; such as the coordinators of space. That could be called its first significance or its first relevance. A cross could equally stand for crossing something out. It could also be a sign of obstruction. An overturned cross, an X so to speak, could be the symbol of mystery, something for the other side. Then I could paint a cross in such a way that a connection is made between two bars, and in doing so convert it into a symbol of the unlimited. So, many different crosses and X symbols occur in my works.
Antoni Tàpies
..the equivalence of sounds, gratings, scratches, explosions, shots, blows, hammering, shouts, resonance, echoes in space; meditation of a cosmic theme, reflection for the contemplation of the earth, of magma, of lava, of ash; battlefield; garden; play-field; destiny of the ephemeral.. .Far from the cliché people have of artists holding the baggage of necessary originality, personality, style, etc., that calls for an outsider's discussion of the works, for the author there is, foremost, a nucleus of thought that is more anonymous and collective and of which artists are but humble servants. This is surely the zone where wisdom is deposited, the wisdom that one may really find beneath all ideologies and the contingencies of this world. It is the impulse of our life instinct for knowledge, love and freedom that has been kept and fed by the wisdom of all time.
Antoni Tàpies
I felt that I was literally standing on a plateau somewhere out there in space. A plateau that science and technology had allowed me to get to. But now what I was seeing and even more important what I was feeling at that moment in time, science and technology had no answers. Literally no answers because there I was, and there you are, there you were, the earth dynamic, overwhelming.. And I felt that the world just.. There is too much purpose, too much logic, it was just too beautiful to happen by accident. There has to be somebody bigger than you and bigger than me.. And I mean this in a spiritual sense, not in a religous sense, there has to be a creator of the universe who stands above the religions that we, ourselves create to govern our lives.
Eugene Cernan
At the roots of all our judgments there are a certain number of essential ideas which dominate all our intellectual life; they are what philosophers since Aristotle have called the categories of the understanding: ideas of time, space, class, number, cause, substance, personality, etc. They correspond to the most universal properties of things. They are like the solid frame which encloses all thought: this does not seem to be able to liberate itself from them without destroying itself.
Émile Durkheim
The category of class was at first indistinct from the concept of the human group; it is the rhythm of social life which is at the basis of the category of time; the territory occupied by the society furnished the material for the category of space; it is the collective force which was the prototype of the concept of efficient force, an essential element in the category of causality.
Émile Durkheim
