Quotes About Form

The documentary photographer aims his camera at the real world to record truthfulness. At the same time, he must strive for form, to devise effective ways of organizing and using the material. For content and form are interrelated. The problems presented by content and form must be so developed that the result is fundimentally [sic] true to the realities of life as we know it. The chief problem is to find a form that adequately represents the reality.

Julie Taymor. She is my gold standard of stage directors. I think she has a comprehensive knowledge of theatrical form, since she lived in Indonesia, Java, Japan and France. Her knowledge of form is limitless. Whenever I get painted in a corner, I think about what form she would use, because that is what she practices. It's about accessing the theater traditions of the whole world.

In film, there are two ways of including human beings. One is depicting human beings. Another is to create a film form which, in itself, has all the qualities of being human: tenderness, observation, fear, relaxation, the sense of stepping into the world and pulling back, expansion, contraction, changing, softening, tenderness of heart. The first is a form of theater and the latter is a form of poetry.

What is this world condition? Body is the world condition. And with body and form goes feeling, perception, consciousness, and all the activities throughout the world. The arising of form and the ceasing of form-everything that has been heard, sensed, and known, sought after and reached by the mind-all this is the embodied world, to be penetrated and realized.

I love making object form; I wish I was doing more of it. I admire the research of my colleagues, and sometimes it makes me sad when their beautiful work - the deep dives into formal research and nuances of geometry and so on - ends up circling in more and more circumscribed contexts. I wish they were more powerful. It's not a modern proposition. Active form doesn't kill object form. I want my students to have all those skills related to geometry, shape, measure, scale, etc., plus skills for using space to manipulate power in the world.

It's enough to have faith in one aspect of God. You have faith in God without form. That is very good. But never get into your head that your faith alone is true and every other is false. Know for certain that God without form is real and that God with form is also real. Then hold fast to whichever faith appeals to you.

We take as given the idea of distinction and the idea of indication, and that one cannot make an indication without drawing a distinction. We take therefore the form of distinction for the form.

Fame is a form, perhaps the worst form, of incomprehension.

The technique that only uses explosion or expansion forces is lethal and hostile to the nature. This kind of technique must miss the natural counter force or the organic synthesis which is a negative form of quality - The Organic Vacuum - that reunites the polar and the increasing to the favour of the uprising of a new life form.

Once there is a certain degree of Presence, of still and alert attention in human beings' perceptions, they can sense the divine life essence, the one indwelling consciousness or spirit in every creature, every life-form, recognize it as one with their own essence and so love it as themselves. Until this happens, however, most humans see only the outer forms, unaware of the inner essence, just as they are unaware of their own essence and identify only with their own physical and psychological form.

I think we need a politics that allows us to risk what is intelligible. To be maybe slightly unintelligible, too be slightly "illisible". To take the risk of suggesting that the human form might take another form.

If there is one thing in mathematics that fascinates me more than anything else (and doubtless always has), it is neither "number" nor "size", but always form. And among the thousand-and-one faces whereby form chooses to reveal itself to us, the one that fascinates me more than any other and continues to fascinate me, is the structure hidden in mathematical things.

I would describe myself as a writer and a student of media. If there's a central idea in media theory, it's to take media as form. It might grow out of philosophical aesthetics or the study of literature and visual art, but the various strands of media theory converge in treating all of those as subsets of the study of media as form.

I am sure that there is no place in the world where your message would not be enhanced by your making the place (whether tiny or large, a hut or a palace) orderly, artistic and beautiful with some form of creativity, some form of ‘art’ (p. 213).

You have to list all your special skills on a form when you get an agent. There's fencing, stage combat, horse riding, motorbike riding, Spanish, French, German, whatever. I just ticked everything. I talk about 10 languages according to that form. I even ticked the extreme sports box.

Once one is caught up into the material world not one person in ten thousand finds the time to form literary taste, to examine the validity of philosophic concepts for himself, or to form what, for lack of a better phrase, I might call the wise and tragic sense of life.

Writing is a creative art form and the acting and directing is more of an interpretive art form.

Just as when water is frozen in to a form as ice and then melts - so at the time of death, there is no death. The spirit simply changes form.

I think that both Mill and Sidgwick are great and admirable philosophers, from whom we still have a lot to learn. I would not favor a form of Kantianism (if there is such a form) that treats Mill's or Sidgwick's moral philosophy with disrespect.

If there is a form of government, then, whose principle and foundation is virtue, will not every sober man acknowledge it better calculated to promote the general happiness than any other form?

I'm more interested in moving toward writing stories - thinking about the graphic novel form, and just something more long-form. I did a lot of literary translation in college. Translation is an art. But for sure writing has always been a part of how I think through my ideas.

Is there no virtue among us? If there be not, we are in a wretched situation. No theoretical checks-no form of government can render us secure. To suppose that any form of government will secure liberty or happiness without any virtue in the people, is a chimerical idea, if there be sufficient virtue and intelligence in the community, it will be exercised in the selection of these men. So that we do not depend on their virtue, or put confidence in our rulers, but in the people who are to choose them.

All my early memories are of forms and shapes and textures. Moving through and over the West Riding landscape with my father in his car, the hills were sculptures; the roads defined the form. Above all, there was the sensation of moving physically over the contours of fullnessess and concavities, through hollows and over peaks - feeling, touching, seeing, through mind and hand and eye. This sensation has never left me. I, the sculptor, am the landscape. I am the form and the hollow, the thrust and the contour.

I don't really have any great interest in writing for movies. Comics, to me, is a much more promising field. There's still a lot of ground to be broken in comics, whereas movies, to a degree... I don't know. They're a wonderful art form, but they're not my favorite art form. They might not even be in the top five of my favorite art forms.

The question of "unreality"is a very important one. Misled by grammar, the great majority of those logicians who have dealt with this question have dealt with it on mistaken lines. They have regarded grammatical form as a surer guide in analysis than, in fact, it is. And they have not known what differences in grammatical form are important.

The best form in which to worship God is every form.

Art is a form of understanding like philosophy and science and mathematics are an understanding but the difference is that art has the capacity to hold all these different things. It is the form of understanding that is best suited for the contemporary time.

Power operates only destructively, bent always on forcing every manifestation of life into the straitjacket of its laws. Its intellectual form of expression is dead dogma, its physical form brute force.

One cannot conquer the evil in himself by resisting it ... but by transmuting its energies into other forms. The energy that expresses itself in the form of evil is the same energy which expresses itself in the form of good; and thus the one may be transmuted into the other.

I can't marry myself to one idea or one form of doing politics or one form of understanding politics. I believe that we have to play the game of strategy, and understand how to move the pieces because this is how the political spectrum functions.

Whatever they are, can Comics be "Art"? Of course they can. The "Art" in a piece is something independent of genre, form, or material. My feeling is that most paintings, most films, most music, most literature and, indeed, most comics fail as "Art." A masterpiece in any genre, form or material is equally "good." It's ridiculous to impose a hierarchy of value on art. The division between high and low art is one that cannot be defended because it has no correlation to aesthetic response.

Hamas played the negative opposition, in a sense, because it formed an alternative source of power without any mandate from the people. Now, Hamas has that mandate and it wants to form a national unity government. I say, let them form a government and let them accept the fact that they will have opposition.

He sought a way to preserve the past. John Hershel was one of the founders of a new form of time travel.... a means to capture light and memories. He actually coined a word for it... photography. When you think about it, photography is a form of time travel. This man is staring at us from across the centuries, a ghost preserved by light.

[Raphael's] great superiority is due to the instinctive sense which, in him, seems to desire to shatter form. Form is, in his figures, what it is in ourselves, an interpreter for the communication of ideas and sensations, an exhaustless source of poetic inspiration. Every figure is a world in itself, a portrait of which the original appeared in a sublime vision, in a flood of light, pointed to by an inward voice, laid bare by a divine finger which showed what the sources of expression had been in the whole past life of the subject.

Anything that is in space has form. Space itself has form. Either you are in space, or space is in you. The soul is beyond all space. Space is in the soul, not the soul in space.

The abstraction, ostensibly, is simply for me the penetration of something that is more profound in many ways than rigidity of a form. A form if it breathes some, if it has some enigma to it, it is also the enigma that is the abstract, I would think.

How ironic that returning to a raw and ancient form of worship is now seen as new and even cutting edge. We are simply going back to a vintage form of worship which has been around for as long as the church has been in existence.

For some people, the beginning is a time of complete chaos. You see bits and pieces of what is before you. You have a sense of what it is you must set out to do. But nothing will form yet. When you sit down to write or paint or form movement, it's like stepping over a cliff or into a dense fog. All you can do is trust that this impending masterpiece is going to somehow manifest itself as you work. But you do know that there is something specific ahead, and you feel the excitement of that.

When you form a team, why do you try to form a team? Because teamwork builds trust and trust builds speed.

An mp3 is a compressed form of data. It's not the full spectrum. It's never going to sound as good as a record. I think one thing people forget is that every technological advance we fetishize had its place in time. CDs are usually an hour long because that's the amount a CD could hold - not because that's the optimal amount of time for any given musical expression. Side one and side two? That's a product of vinyl. But that's not necessarily dramatic form - you could argue that that was three acts.

Romantic poetry and fiction of the last 2000 years has blinded us to the fact that emotions are a low form of jungle consciousness. Emotional actions are the most contracted, dangerous form of fanatic stupor.

Sarcasm is the lowest form of humor but the highest form of flattery.

Most great art is freedom within form. Without form, we are amateurs, without freedom, we are robots.

Words are a completely different form of expression. The word P-E-N-I-S is an entirely different form of communication than a photograph of the same thing. H

A CAUSE is an object precedent and contiguous to another, and so united with it that the idea of the one determines the mind to form the idea of the other, and the impression of the one to form a more lively idea of the other.

Finally if I had a pot that needed decoration, I would hand it to Alix [MacKenzie] and I would say, "Can you do something with this?" And she'd look at it for a while and then proceed with a brush to embellish the form and enhance the form, and it was wonderful. She could bring the pot to life, whereas if I did it, it was a disaster.

Genuine and true love is so rare that when you encounter it in any form, it's a wonderful thing, to be utterly cherished in whatever form it takes.

The form is always integral to the expression of the theme or to the sheer telling of the story, and sometimes the right form is apparent to me from the outset and sometimes it isn't.