The better artists are original and obdurate; they're the gravel in the pea soup. ln Jackson Pollock's painting the particularity, the immediacy, is the dripped paint, which remains dripped paint as a phenomenon, for all the beauty of the small shapes it makes it makes. The generality is in the scale or proportion and in the large shapes. It's in the appearance of chaos. The gesture or the motion shown in the application of the paint varies from painting to painting from the particular to a middling generality. The size and the color generally occur in the middle between particularity and generality. At the same time as Pollock and since, almost all first-rate art has been based on an immediate phenomenon, for example the work of Dan Flavin and Larry Bell.
Donald JuddRelated topics
almost appearance art beauty bell color example first-rate generality gesture immediacy large larry middle paint particularity pollock show size small soup work remains JacksonRelated quotes
If you were to take a plastic bag and place it inside a large bowl, and then, using a wooden spoon, stir the bag around, you could use the expression 'a mixed bag' to describe what you had in front of you, but you would not be using the expression in the same way I am about to use it now. Although 'a mixed bag' sometimes refers to a plastic bag that has been stirred in a bowl, more often, it is used to describe a situation that has both good parts and bad parts. An afternoon movie theater, for example, would be a mixed bag if your favorite movie were showing, but if you had to eat gravel instead of popcorn. A trip to the zoo would be a very mixed bag if the weather were beautiful, but all the man and woman-eating lions were running around loose.
Daniel Handler
Nobody should start to undertake a large project. You start with a small trivial project, and you should never expect it to get large. If you do, you'll just overdesign and generally think it is more important than it likely is at that stage. Or worse, you might be scared away by the sheer size of the work you envision. So start small, and think about the details. Don't think about some big picture and fancy design. If it doesn't solve some fairly immediate need, it's almost certainly over-designed. And don't expect people to jump in and help you. That's not how these things work. You need to get something half-way useful first, and then others will say "hey, that almost works for me", and they'll get involved in the project.
Linus Torvalds
When I paint an abstract picture (the problem is very much the same in other cases), I neither know in advance what it is meant to look like nor, during the painting process, what I am aiming at and what to do about getting there. Painting is consequently an almost blind, desperate effort, like that of a person abandoned, helpless, in totally incomprehensible surroundings – like that of a person who possesses a given set of tools, materials and abilities and has the urgent desire to build something useful which is not allowed to be a house or a chair or anything else that has a name; who therefore hacks away in the vague hope that by working in a proper, professional way he will ultimately turn out something proper and meaningful.
Gerhard Richter
We had a large old-fashioned battery, a wet cell, in the kitchen, hooked up to an electric bell. The bell was too complicated to understand at first, and the battery, to my mind, was more immediately attractive, for it contained an earthenware tube with a massive, gleaming copper cylinder in the middle, immersed in a bluish liquid, all this inside an outer glass casing, also filled with fluid, and containing a slimmer bar of zinc. It looked like a miniature chemical factory of sorts, and I thought I saw little bubbles of gas, at times, coming off the zinc. The Daniell cell (as it was called) had a thoroughly nineteenth-century, Victorian look about it, and this extraordinary object was making electricity all by itself-not by rubbing or friction, but just by the virtue of its own chemical reactions.
Oliver Sacks
From the preceding examples, we may get some idea of the change in perspective that may occur in our reading and interpretation of the philosophical works of antiquity when we consider them from the point of view of the practice of spiritual exercises. Philosophy then appears in its original aspect: not as a theoretical construct, but as a method for training people to live and to look at the world in a new way. It is an attempt to transform mankind. Contemporary historians of philosophy are today scarcely inclined to pay attention to this aspect, although it is an essential one. The reason for this is that, in conformity with a tradition inherited from the Middle Ages ... they consider philosophy to be purely abstract-theoretical activity.
Pierre Hadot