Speaking purely for myself, I can say that it was my very acute feeling for the matière, for the substance of painting, which pushed me into thinking about the possibilities of the medium. I wanted to create a kind of substance by means of brush-work. But that is the kind of discovery which one makes gradually, though once a beginning had been made other discoveries follow. Thus it was that I subsequently began to introduce sand, sawdust and metal filings into my pictures. For I suddenly saw the extent to which colour is related to the substance... So my great delight was the 'material' character which I could give to my pictures by introducing these extraneous elements. In short, they provided me with a means of getting further away from idealism in 'representing' the things with which I was concerned.
 
    
        Georges Braque 
     
    
     
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    Filippo Tommaso Marinetti 
 
                 
            
        
     
    
    
    
    
                                        
                    
    
        In all my works.... I have always had recourse to one never-varying method. It consists in making the delineation of the objects represented heavily dependent on a system of necessities which itself looks strange. These necessities are sometimes due to the inappropriate and awkward character of the material used, sometimes to some strange obsessive notion [frequently changed for another]. In a word, it is always a matter of giving the person who is looking at the picture a startling impression that a weird logic has directed the painting of it, a logic to which the delineation of every object is subjected, is even sacrificed, in such a peremptory way that, curiously enough, it forces the most unexpected solutions, and, in spite of the obstacles it creates, brings out the desired figuration. 
         
 
    Jean Dubuffet 
 
                 
            
        
     
    
    
                                        
                    
    
        Throughout their early stages the movements of civilization-for, properly speaking, there was no one movement-were very slow, were local in space, and were partial in the sense that each developed along but few lines. Of the numberless years that covered these early stages we have no record. They were the years that saw such extraordinary discoveries and inventions as fire, and the wheel, and the bow, and the domestication of animals. So local were these inventions that at the present day there yet linger savage tribes, still fixed in the half-bestial life of an infinitely remote past, who know none of them except fire-and the discovery and use of fire may have marked, not the beginning of civilization, but the beginning of the savagery which separated man from brute. 
         
 
    Theodore Roosevelt 
 
                 
            
        
     
    
    
                                        
                    
    
        I gave up on this stuff. I gave up on my species and ... I gave up on my countrymen. Because I think we squandered great gifts. I think humans were given great great gifts: walking upright, binocular vision, opposable thumb, large brain ... We grew. We had great gifts, and we gave it all up for both money and God ... We gave it all up to superstition, primitive superstition, primitive shit ... Invisible man in the sky, looking down, keeping track of what we do, make sure we don't do the wrong thing, if we do, he puts us in hell, where we burn forever. That kind of shit is very limiting for this brain we have. So we keep ourselves limited. And then we want a toy and a gizmo and gold and we want shiny things, and we want something to plug in that will make big big big things for us... And all that shit is nothing! It's nothing. 
         
 
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