Formal Quotes - page 8
So much of modern mathematical work is obviously on the border-line of logic, so much of modern logic is symbolic and formal, that the very close relationship of logic and mathematics has become obvious to every instructed student. The proof of their identity is, of course, a matter of detail: starting with premisses which would be universally admitted to belong to logic, and arriving by deduction at results which as obviously belong to mathematics, we find that there is no point at which a sharp line can be drawn, with logic to the left and mathematics to the right. If there are still those who do not admit the identity of logic and mathematics, we may challenge them to indicate at what point, in the successive definitions and deductions of Principia Mathematica, they consider that logic ends and mathematics begins. It will then be obvious that any answer must be quite arbitrary.
Bertrand Russell
The formalization of behavior takes formal power away from the workers and the managers who supervise them and concentrates it near the top of the line hierarchy and in the technostructure, thus centralizing the organization in both dimensions. The result is Type A decentralization. Training and indoctrination produces exactly the opposite effect: it develops expertise below the middle line, thereby decentralizing the structure in both dimensions (Type E). Putting these two conclusions together, we can see that specialization of the unskilled type centralizes the structure in both dimensions, whereas specialization of the skilled or professional type decentralizes it in both dimensions.
Henry Mintzberg
In that Renaissance (Cellini, Tintoretto, Titian..) there was an explosion of unique truthfulness, a love of painting and form... Then come the Jesuits and everything is formal; everything has to be taught and learned. It required a revolution for nature to be rediscovered; for Delacroix to paint his beach at Etratat, Corot his roman rubble, Gustave Courbet his forest scenes and his waves. And how miserable slow that revolution was, how many stages it had to go through!... These artists had not yet discovered that nature has more to do with depth than with surfaces. I can tell you, you can do things to the surface.... but by going deep you automatically go to the truth. You feel a healthy need to be truthful. You'd rather strip your canvas right down than invent or imagine a detail. You want to know.
Paul Cézanne
It is urged in the first place that contempts cannot be crimes, because, although punishable by imprisonment, and therefore, if crimes, infamous, they are not within the protection of the Constitution and the Amendments giving a right to trial by jury, etc., to persons charged with such crimes. But the provisions of the Constitution are not mathematical formulas having their essence in their form; they are organic, living institutions transplanted from English soil. Their significance is vital, not formal; it is to be gathered not simply by taking the words and a dictionary, but by considering their origin and the line of their growth.
Oliver Wendell Holmes Jr.
But the most remarkable thing about prehistoric naturalism is not that it is older than the geometric style, which makes so much more of a primitive impression, but that it already reveals all the typical phases of development through which art has passed in modern times and is not in any sense the merely instinctive, static, a-historical phenomenon which scholars obsessed with geometric and rigorously formal art declare it to be. This is an art which advances from a linear faithfulness to nature, in which individual forms are still shaped somewhat rigidly and laboriously, to a more nimble and sparkling, almost impressionistic technique.
Arnold Hauser
I am an artist who makes walks. A walk defines the form of the land in space and time beyond the scale of sculpture or the fixed image. Some of my walks are formal (straight, circular, rhythmic) almost ritualised. I have climbed around mountains instead of to the top, I have made walks about slowness, walks about stones and water. I have made walks within a place as opposed to a linear journey; walking without travelling.
Richard Long
It can be argued that in trying to see behind the formal predictions of quantum theory we are just making trouble for ourselves. Was not precisely this the lesson that had to be learned before quantum mechanics could be constructed, that it is futile to try to see behind the observed phenomena?
John Stewart Bell
Millet was one of those artists on whom a few formal ideas make so deep an impression that they feel compelled to spend the whole of their lives in trying to lever them out. Perhaps this is the chief distinguishing mark of the classical artist; certainly it is what distinguishes his use of subject matter from that of the illustrator. The illustrator is essentially a reporter, his subjects come from the outside, lit by a flash. A subject comes to the classical artist from inside, and when he discovers confirmation of it in the outside world he feels that it has been there all the time. He must give to his subjects an air of complete inevitability, and this becomes a problem of formal completeness. That is why the classic artists, Degas no less than Poussin, return to the same motives again and again, hoping each time to mould the subject closer to the idea.
Kenneth Clark
As we divided natural philosophy in general into the inquiry of causes, and productions of effects: so that part which concerneth the inquiry of causes we do subdivide according to the received and sound division of causes. The one part, which is physic, inquireth and handleth the material and efficient causes; and the other, which is metaphysic, handleth the formal and final causes.
Francis Bacon
Coming to the farm from Worcester, where Coloured people seem to have to beg for whatever they get, he is relieved at how correct and formal relations are between his uncle and the volk. Each morning, his uncle confers with his two men about the day's tasks. He does not give them orders. Instead he proposes the tasks that need to be done, as if dealing cards on a table; his men deal their own cards too. In between, there are pauses, long, reflective silences in which nothing happens.
J. M. Coetzee
Readers of histories and novels can hardly fail to be struck by their similarities. There are many histories that could pass for novels, and many novels that could pass for histories, considered in purely formal (or, I should say, formalist) terms. Viewed simply as verbal artifacts histories and novels are indistinguishable from one another. We cannot easily distinguish between them on formal grounds unless we approach them with specific preconceptions about the kinds of truths that each is supposed to deal in. But the aim of the writer of a novel must be the same as that of the writer of a history.
Hayden White
That spirit, that feeling for one's comrades in the snow, the moonlight, under the blossoms, is also basic to the tea ceremony. A tea ceremony is a coming together in feeling, a meeting of good comrades in a good season. I may say in passing, that to see my novel Thousand Cranes as an evocation of the formal and spiritual beauty of the tea ceremony is a misreading. It is a negative work, and expression of doubt about and warning against the vulgarity into which the tea ceremony has fallen.
Yasunari Kawabata
Even the street, the sunshine, the very air had a special [Sunday] quality. We walked differently on Sundays, with greater propriety and stateliness. Greetings were more formal, more subdued, voices more meticulously polite. Everything was so smooth, bland, polished. And genuinely so, because this was Sunday. In church the rustling and the stillness were alike pervaded with the knowledge that all was for the best. Propriety ruled the universe. God was in His Heaven, and we were in our Sunday clothes.
Rose Wilder Lane
Fantasizing about action out there in the 'real' world, spinning dreams abut the secret centrality, about the occult importance of the labours in which he has interred his existence - labours that the vast majority of his fellow men would deem wholly marginal and socially wasteful if they knew of them at all - the pure scholar, the master of catalogues, can sup on hatred. At the ordinary level, he will exorcize his spleen in the ad-hominem nastiness of a book review, in the arsenic of a footnote. He will vent his resentments in the soft betrayals of an ambiguous recommendation or examination report and in the scorpion's round of a committee on tenure. The violence stays formal. Not, one supposes, in Professor Blunt.
George Steiner
Over this landscape, Göran Therborn's Between Sex and Power rises up like some majestic volcano. Throwing up a billowing column of ideas and arguments, while a lava of evidence flows down its slopes, this is a great work of historical intellect and imagination, the effect of a rare combination of gifts. Trained as a sociologist, Therborn is a highly conceptual thinker, allying the formal rigour of his discipline at its best, with command of a vast range of empirical data. The result is a powerful theoretical structure, supported by a fascinating body of evidence. But it is also a set of macro-narratives that compose perhaps the first true example of a work of global history we possess.
Perry Anderson
