Landscape Quotes - page 15
Part of the charm of synthetic organic chemistry derives from the vastness of the intellectual landscape along several dimensions. First, there is the almost infinite variety and number of possible target structures that lurk in the darkness waiting to be made. Then, there is the vast body of organic reactions that serve to transform one substance into another, now so large in number as to be beyond credibility to a non-chemist. There is the staggering range of reagents, reaction conditions, catalysts, elements, and techniques that must be mobilized in order to tame these reactions for synthetic purposes. Finally, it seems that new information is being added to that landscape at a rate that exceeds the ability of a normal person to keep up with it. In such a troubled setting any author, or group of authors, must be regarded as heroic if through their efforts, the task of the synthetic chemist is eased.
Elias James Corey
I might get an idea [for the start of a painting] sitting looking at the river, or something, or a specific.... Yeess. I'm sure, yes, I'm sure it [the environment] influences me in terms of green and gray and color and... I mean, New York light is so different, and it always hits me when I come here [in New York], and it excites me to see great extremes of dark and light and no nuance - which I love. But there the Isle de France [round about Paris] has that, you know, filtered light that is that.. where even on a gray day, the green is very green, and the red is very red.... I think walking out barefoot and moving the paintings, being able to move them out of my studio [in Vetheuil] for transportation, things like that have had [influence]... As well as the landscape. Lake Michigan was pretty important, you know.
Joan Mitchell
.. my own paintings of that period (1916 – 1919) remain pure still-life compositions and never suggest any metaphysical, surrealist, psychological, or literary considerations at all [reacting on similarities with the art of Carrà, and de Chirico, suggested by the interviewer]. My milliners' dummies, for instance, are objects like others and have not been selected to suggest symbolic representations of human beings of legendary or mythological characters. The only titles that I chose for these paintings were conventional, like 'Still Life, Flowers or Landscape', without any implications of strangeness of an unreal world.
Giorgio Morandi
What makes the Nightmares on Elm Street universal and forever in their attraction, I think, is simply the dream. The landscape of the mind, the subconscious, the nightmare. Everybody has a nightmare, and everybody apparently has falling dreams, and everybody has the drowning dream, and everybody has certain kinds of sexual manifestation dreams, as well as our stress dreams; I didn't study for the algebra test, I didn't study for my driving test, you know, all those dreams. I still have those dreams, and it's just such an interesting thing that our mind can turn against us, our own mind, you know we all have.
Robert Englund
It needs but half an eye to see in these latter days that science, the Grand Revelator of modern Western culture, has reached, without having intended to, a frontier. Either it must bury its dead, close its ranks, and go forward into a landscape of increasing strangeness, replete with things shocking to a culture-trammeled understanding, or it must become, in Claude Houghton's expressive phrase, the plagiarist of its own past. The frontier was foreseen in principle very long ago, and given a name that has descended to our day clouded with myth. That name is Babel. For science's long and heroic effort to be strictly factual has at last brought it into entanglement with the unsuspected facts of the linguistic order. These facts the older classical science had never admitted, confronted, or understood as facts. Instead they had entered its house by the back door and had been taken for the substance of Reason itself.
Benjamin Lee Whorf