Consequence Quotes - page 22
To me the entire uselessness of such rules^as practical guides lies in the inherent vagueness of the word "reasonable," the absolute impossibility of finding a definite standard, to be expressed in language, for the fairness and the reason of mankind, even of Judges. The reason and fairness of one man is manifestly no rule for the reason and fairness of another, and it is an awkward, but as far as I see, an inevitable consequence of the rule, that in every case where the decision of a Judge is overruled, who does or does not stop a case on the ground that there is, or is not, reasonable evidence for reasonable |men, those who overrule him say, by implication, that in the case before them, the Judge who is overruled is out of the pale of reasonable men.
John Coleridge, 1st Baron Coleridge
The great instrument of all these changes, and what infuses a peculiar venom into all of them, is party. It is of no consequence what the principles of any party, or what their pretensions, are; the spirit which actuates all parties is the same; the spirit of ambition, of self-interest, of oppression, and treachery. This spirit entirely reverses all the principles which a benevolent nature has erected within us; all honesty, all equal justice, and even the ties of natural society, the natural affections.
Edmund Burke
Seeing several of these paintings [his series paintings 'Hommage to the square', Josef Albers painted in 1963-64] next to each other makes it obvious that each painting is an instrumentation on its own.
This means that they all are of different palettes, and, therefore, so to speak, of different climates.
Choice of the colors used, as well as their order, is aimed at an interaction – influencing and changing each other forth and back.
Thus, character and feeling alter from painting to painting without any additional 'handwriting' or, so-called, texture.
Though the underlying symmetrical and quasi-concentric order of squares remains the same in all paintings – in proportion and placement – these same squares group or single themselves, connect and separate in many different ways
In consequence, they move forth and back, in and out, and grow up and down and near and far, as well as enlarged and diminished. All this to proclaim color autonomy as a means of plastic organization.
Josef Albers