Extraordinary Quotes - page 25
The fundamental aspect of video is not the image, even though you can stand in amazement at what can be done electronically, how images can be manipulated and the really extraordinary creative possibilities. For me the essential basis of video is the movement - something that exists at the moment and changes in the next moment.
Bill Viola
Concrete poetry began for me with the extraordinary sense that the syntax I had been using, the movement of language within me, af a physical level was no longer there. So it had to be replaced with something else with a syntax and movement that would be true of this new feeling.
Ian Hamilton Finlay
Bill [=Willem de Kooning ] was working on a huge canvas. It was black and white. And I said to him, 'It's very curious.' You know, I came into the studio. I had my separate studio and I walked in and I said, 'It's very curious. There are no treelike shapes in that painting. The forms are all like animals more or less and organic shapes that don't resemble the forest at all, but I get the feeling of Faulkner forest from that painting.' Bill said, 'That's extraordinary.' And he went over and lifted up a pile of papers and underneath was a book by Faulkner and later he named a painting 'Light in August.
Elaine de Kooning
In each and every one of us lies a message. It is inscribed in an ancient code, its beginnings lost in the mists of time. Decrypted, the message contains instructions on how to make a human being. Nobody wrote the message; nobody invented the code. They came into existence spontaneously. Their designer was Mother Nature herself, working only within the scope of her immutable laws and capitalizing on the vagaries of chance. The message isn't written in ink or type, but in atoms, strung together in an elaborately arranged sequence to form DNA, short for deoxyribonucleic acid. It is the most extraordinary molecule on Earth.
Paul Davies
I would by no means attempt to infer from hence, that the longitude found by observations of this sort may in all cases be depended upon within one degree; but I beg leave to observe, that whatever extraordinary circumstances may have concurred to produce so near an agreement in this particular case, the event is such as may give reason to hope, however great the difficulties of finding the longitude by this method seem to be, that they are not insuperable, or such as ought to deter those whom it most nearly concerns from attempting to remove them.
James Bradley
I began [to portray president Kennedy ] with fragmentary sketches-first in charcoal, then in casein, sometimes just heads, sometimes the whole figure. For the first session (during a Medicare conference), I sat on top of a 6-foot ladder to get an unimpeded view of him. Concentrating on bone structure, most of my first sketches of him made him look twenty years younger. This was also because the positions he assumed were those of a college athlete. I made about thirty sketches at the first session and rushed back to a big studio that had been turned over to me by the Norton Gallery, made further drawing combining different aspects, and finally, after a couple days, decided on the proportions and size of the first canvas-4 by 8 feet. In succeeding sessions of sketching, I was struck by the curious faceted structure of light over his face and hair-a quality of transparent ruddiness. This play of light contributed to the extraordinary variety of expressions.
Elaine de Kooning
Babe] also inspired me to become vegan. After having worked all morning with these extraordinary animals, I'd see their relatives on the lunch table. They had ham and duck, every animal except horse. That's when I said, "I've got to try to be a vegan." And for the most part, I have been vegan since 1994. [You were vegetarian before Babe. What inspired that change? ] I rode across the country on a motorcycle in 1975. I remember it was the worst time of year and bloody cold. When I was going through Texas, I went through the feedlots, which I had never seen before. It was a very sobering sight-heartbreaking and awful. It's a corporate system completely out of touch with what is sustainable, what is humane, what is compassionate. At the time, I didn't even know what a vegetarian was. I just thought, "I can't eat [animals] anymore."
James Cromwell
Social Democracy must remain for itself, must seek for and generate its power within itself. Every power outside of ourselves on which we seek to lean is for us only weakness. In the consciousness of our strength, in our faith in the world-conquering mission of socialism lies the secret of our extraordinary, almost miraculous success.
Wilhelm Liebknecht
A deepened, high-energy democracy does not seek to replace the real world of interests and of interest-bearing individuals with the selfless citizen and with the all-consuming theater of public life. It is not a flight into republican purism and fantasy. It wants to enhance our ordinary powers, enlarge the scope of our ordinary sympathies and ambitions, and render more intense our ordinary experience. It seeks to do so by diminishing the distance between the ordinary moves we may within institutional and ideological contexts take for granted and the extraordinary initiatives by which we challenge and change pieces of those contexts. Its agent and its beneficiary are one and the same: the real thing-the frail, self-interested, longing individual in the flesh, the victim of circumstance whom no circumstance can ever completely or definitively confine.
Roberto Mangabeira Unger
I thought a lot about the beauty of Leonardo's Mona Lisa, we have two expressions that are composed on the same icon: usually to express an expression our whole body moves in that direction, to create another expression we need a different time. These two times, the sadness and the smile, which point out our duality are characterized at the same time. It creates a displacement. It's as if we could not grasp both things together. Hence the perception of that extraordinary beauty.
Umberto Pettinicchio
