Module Quotes
It is true that we were cautious in our planning. There were many uncertainties about how well our Lunar module systems and our Pressure suit and backpack would match the engineering predictions in the hostile lunar environment. We were operating in a near perfect vacuum with the temperature well above 200 degrees Fahrenheit with the local gravity only one sixth that of Earth. That combination cannot be duplicated here on Earth, but we tried as best we could to test our equipment for those conditions. For example, because normal air conditioning is inadequate for lunar conditions, we were required to use cold water to cool the interior of our suits. We did not have any data to tell us how long the small water tank in our backpacks would suffice. NASA officials limited our surface working time to 2 and 3/4 hours on that first surface exploration to assure that we would not expire of hyperthermia.
Neil Armstrong
It turns out that certain picture shapes don't allow you to use different kinds of quantity distributions of color for different expressions. The quantities and configurations of colors are as important as the colors themselves. When I first started painting circles, I went fairly quickly to a 6-foot square module. I think de Kooning said in an interview or artist's discussion that he only wanted to make gestures as big as his arm could reach. It struck me that he was saying this physical size had to do with the expressive size of the pictures he wanted to make. And as far as I know, when I got to the 6-foot square size, it was right in terms of myself and wasn't too much of a field. Or it was a field, yet it was still physical. And that's why I used it for so long.
Kenneth Noland
The secret of avoiding monotony with the four-bar module was to vary the accent and the weight of the bars to avoid giving a similar emphatic accent on the first bar of every group, as if one were accenting a downbeat. After Beethoven and before Brahms, perhaps the greatest master of the technique was Chopin, as one can see from the opening of the Nocturne in D flat Major, Op. 27, no. 2, of 1836 ...
Charles Rosen
We here have... an architectural discovery which may prove of inestimable value to future art. ...Like fire, it is a good servant but a bad master. The danger is that it may lead to a cramped and mechanical design. One may easily become a slave to the module, and do things because of it which his taste or reason would not otherwise commend. ...How can the danger be avoided and the benefits secured?
Ernest Flagg
