A Quote by Marina Warner

For example, John Law's Mississippi Company venture printed shares, and the money had gone up in smoke when it had been inscribed objects. The inscription made it magic and changed its meaning. That's how objects become charmed in The Arabian Nights, and they are often originally ordinary objects. The carpet is an ordinary, paltry object. The lamp is a rusty old lamp, and the bottles jinns are imprisoned within are old bottles. They are changed by the magic and the jinn's presence, and the jinn's presence is often embodied in the seal or inscription.
With the death of my father, it wasn't just the objects of everyday life that had changed; even the most ordinary street scenes had become irreplaceable mementos of a lost world whose every detail figured in the meaning of the whole.
If you want a good handbag and glasses, it's hard to get something without the brand name on it because it's so important to have the charmed inscription. The only way you do it... This handbag was the only one in the shop without a charmed inscription. It's just an ordinary bag. I went into the department store in Sloane Square, because I needed a new bag, because my old one lost its handles. Then I found this one, and I said "Why is it so cheap?" and the seller said, "Because it doesn't have a name!"
In the late 70's I started to make drawings of the ordinary objects I had been using in my work. Initially I wanted them to be ready-made drawings of the kind of common objects I had always used in my work. I was surprised to discover I couldn't find the simple, neutral drawings I had assumed existed, so I started to make them myself.
Human wisdom remains always one and the same although applied to the most diverse objects and it is no more changed by their diversity than the sunshine is changed by the variety of objects which it illuminates.
An old market had stood there until I'd been about six years old, when the authorities had renamed it the Olde Market, destroyed it, and built a new market devoted to selling T-shirts and other objects with pictures of the old market. Meanwhile, the people who had operated the little stalls in the old market had gone elsewhere and set up a thing on the edge of town that was now called the New Market even though it was actually the old market.
The meditation I am talking about is not a meditation on something. If you light a lamp and remove all the objects surrounding it, the lamp will still go on giving light. In the same way, if you remove all objects from your consciousness, all thoughts, all imagination, what will happen? – only consciousness will remain.
When objects are presented within the context of art (and until recently objects always have been used) they are as eligible for aesthetic consideration as are any objects in the world, and an aesthetic consideration of an object existing in the realm of art means that the object's existence or functioning in an art context is irrelevant to the aesthetic judgment.
I look to everyday magic in art to remember how to live: how to estrange and vivify ordinary objects and beings. So little, really, is ordinary, but to remember this I need the brain chemical of painting and film and reading I had a thrummy doomed oracular feeling when I wrote blackened baby teeth into my little blind boy story: I saw teeth and in an instant they were becoming something else. They were buckshot. They were food. They were tiny flightless corvids.
Object-oriented programming aficionados think that everything is an object.... this [isn't] so. There are things that are objects. Things that have state and change their state are objects. And then there are things that are not objects. A binary search is not an object. It is an algorithm
Quit trying to find beautiful objects to photograph. Find the ordinary objects so you can transform it by photographing it.
I came from product design originally - I had been designing dolls for a toy company since I was 16 - so I'm used to working with plastic and different things. I had an innate interest in objects.
Imagine that we are sitting in an ordinary room. Suddenly we are told that there is a corpse behind the door. In an instant the room we are sitting in is completely altered; everything in it has taken on another look; the light, the atmosphere have changed, though they are physically the same. This is because we have changed and the objects are as we conceive them. That is the effect I want to get in my film.
From the moment they had left the Earth, their own weight, and that of the Projectile and the objects therein contained, had been undergoing a progressive diminution. . . . Of course, it is quite clear, that this decrease could not be indicated by an ordinary scales, as the weight to balance the object would have lost precisely as much as the object itself. But a spring balance, for instance, in which the tension of the coil is independent of attraction, would have readily given the exact equivalent of the loss.
My pictures are devoid of objects; like objects, they are themselves objects. This means that they are devoid of content, significance or meaning, like objects or trees, animals, people or days, all of which are there without a reason, without a function and without a purpose. This is the quality that counts. Even so, there are good and bad pictures.
Here lies the sense of literary creation to portray ordinary objects as they will be reflected in kindly mirrors of future times. . . . To find in objects around us the fragrant tenderness that only posterity will discern . . .
The main reason for the colossal objects is the obvious one, to expand and intensify the presence of the vessel - the object.
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