A Quote by Joseph Kosuth

I am only describing language, not explaining anything. — © Joseph Kosuth
I am only describing language, not explaining anything.
I like writing in an illustrative, descriptive way. I prefer describing to rather than explaining. One, I rarely have anything to say. It's much more interesting for me to discover some meaning that you didn't know that you could create.
Feature film can have a major role in explaining ideas and describing peoples' lives and their struggles.
I like writing in an illustrative, descriptive way. I prefer describing to rather than explaining.
For the absurd man, it is not a matter of explaining and solving, but of experiencing and describing. Everything begins with lucid indifference.
When it comes to atoms, language can be used only as in poetry. The poet, too, is not nearly so concerned with describing facts as with creating images.
Curiously enough, it seems to be only in describing a mode of language which does not mean what it says that one can actually say what one means.
When it comes to atoms, language can be used only as in poetry. The poet, too, is not nearly so concerned with describing facts as with creating images and establishing mental connections.
What we take anything to be profoundly affects how we go about describing it, and how we describe something profoundly affects how we go about explaining, accounting for, or understanding what is what we are, in a sense, defining, by our description.
In America, there might be better gastronomic destinations than New Orleans, but there is no place more uniquely wonderful. ... With the best restaurants in New York, you'll find something similar to it in Paris or Copenhagen or Chicago. But there is no place like New Orleans. So it's a must-see city because there's no explaining it, no describing it. You can't compare it to anything. So, far and away New Orleans.
A writer can have only one language, if language is going to mean anything to him.
There is a popular superstition that "realism" asserts itself in the cataloguing of a great number of material objects, in explaining mechanical processes, the methods of operating manufactories and trades, and in minutely and unsparingly describing physical sensations. But is not realism, more than it is anything else, an attitude of mind on the part of the writer toward his material, a vague indication of the sympathy and candour with which he accepts, rather than chooses, his theme?
The earliest language was body language and, since this language is the language of questions, if we limit the questions, and if we only pay attention to or place values on spoken or written language, then we are ruling out a large area of human language.
I am a part of the old school where I feel that purity of the language should be retained. But English is a constantly evolving language where new words are being added to the dictionary, so I don't see any harm in experimenting with the language. Only poor editing standards need to be improved.
Music is language itself. It should not have any barriers of caste, creed, language or anything. Music is one, only cultures are different. Music is the language of languages. It is the ultimate mother of languages.
I am adding another language to the spoken language, and I am trying to restore to the language of speech its old magic, its essential spellbinding power, for its mysterious possibilities have been forgotten.
Von Neumann languages do not have useful properties for reasoning about programs. Axiomatic and denotational semantics are precise tools for describing and understanding conventional programs, but they only talk about them and cannot alter their ungainly properties. Unlike von Neumann languages, the language of ordinary algebra is suitable both for stating its laws and for transforming an equation into its solution, all within the "language."
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