A Quote by A. S. Byatt
I think the names of colors are at the edge, between where language fails and where it's at its most powerful.
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The most powerful programming language is Lisp. If you don't know Lisp (or its variant, Scheme), you don't appreciate what a powerful language is. Once you learn Lisp you will see what is missing in most other languages.
I always felt that a painted edge between two colors was a depiction somehow.
Ecclesiastes names thee Almighty, the Maccabees name thee Creator, the Epistle to the Ephesians names thee Liberty, Baruch names thee Immensity, the Psalms name thee Wisdom and Truth, John names thee Light, the Book of Kings names thee Lord, Exodus names thee Providence, Leviticus Sanctity, Esdras Justice, creation names thee God, man names thee Father; but Solomon names thee Compassion, which is the most beautiful of all thy names.
Brent Berlin and Paul Kay in Basic Color Terms demonstrate exhaustively and empirically, the very simple thesis that anywhere in the world, as a language develops and acquires names for color, the colors always enter in the same order. The most primitive are black and white. Then red. Then either green or yellow.
Language is power, in ways more literal than most people think. When we speak, we exercise the power of language to transform reality. Why don't more of us realize the connection between language and power?
Texture is most evident where dark meets light on the turning edge and at the outer edge. Experience has taught us to assume that the areas in between have similar features.
There are loads of fan sites for the 'Edge,' including deviant art, song lyrics using 'Edge' language, multiple entries on Wikipedia, there are even some 'Who Wants To Be A Millionaire?' games all about the 'Edge.'
We cannot evolve faster than our language. The edge of being is the edge of meaning, and somehow we have to push the edge of meaning. We have to extend it.
From the earliest moments of life, children begin to learn the fundamentals of language. The most powerful influence for effective language development are the verbal interactions with caregivers.
I think my pictures are really about a kind of tension between my need to make a perfect picture and the impossibility of doing so. Something always fails, there's always a problem, and photography fails in a certain sense... This is what drives you to the next picture.
Names are the sweetest and most important sound in any language.
I started doing sculpture in 1959. I had no commissions then. They were painted, similar in style to the paintings... At a certain point, I decided I didn't want an edge between two colors, I wanted color differences in literal space.
Color really doesn't have interaction if it's full of colors. It's the interaction or relationship among or between colors that makes a color image. This usually happens with a few colors, not a glut of them.
When language fails, violence becomes a language; I never had that feeling.
One of my favorite literary theorists, Mikhail Bakhtin, wrote that the defining characteristic of the novel is its unprecedented level of "heteroglossia" - the way it brings together so many different registers of language. He doesn't mean national languages, but rather the sublanguages we all navigate between every day: high language, low language, everything. I think there's something really powerful about the idea of the novel as a space that can bring all these languages together - not just aggregate them, like the Internet is so good at doing, but bring them into a dialogue.
I think the most annoying language is a tie between all the ones I don't know how to speak.
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