A Quote by Arthur Erickson
The obsession with performance left no room for the development of the intuitive or spiritual impact of space and form other than the aesthetic of the machine itself.
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Spiritual development requires the freedom to connect with different parts of reality in order to understand them more fully. The more you're able to explore, the more connections you can form, and the greater your spiritual growth will be. When you feel a strong desire to connect with something in your reality, listen to your intuitive guidance, and make the connection.
I love building spaces: architecture, furniture, all of it, probably more than fashion. The development procedure is more tactile. It's about space and form and it's something you can share with other people.
Anything that is in space has form. Space itself has form. Either you are in space, or space is in you. The soul is beyond all space. Space is in the soul, not the soul in space.
There's no specific aesthetic other than a sense of the beautiful itself, I suppose.
If all individuals were conditioned to machine efficiency in the performance of their duties there would have to be at least one person outside the machine to give the necessary orders; if the machine absorbed or eliminated all those outside the machine, the machine will slow down and stop forever.
Without the aesthetic, the computer is but a mindless speed machine, producing effects without substance, form without relevant content, or content without meaningful form.
Everybody comes in with a certain goal. Some are performance, some are aesthetic. Even athletes have aesthetic goals, but first and foremost, they have performance goals, and those need to be addressed. They have weaknesses that need to be shored up. You have to manage expectations sometimes.
The development and deployment of drones and Cruise missiles involves the continuing development of the vision machine. Research on Cruise missiles is intrinsically linked to the development of vision machines. The aim, of course, is not only to give vision to a machine but, as in the case of the Cruise missiles that were aimed at Leningrad and Moscow, also to enable a machine to deploy radar readings and pre-programmed maps as it follows its course towards its target.
The brilliance here is appropriation: space, form and interface combine to create a Jetsons sound machine. A dream of music access that just hovers, its floating defines a space. The shape seems so obviously sci-fi, but fresh. The function could follow the form. The shape is beautiful and functional-which hits both of the pillars of American Needs right on the head.
... regard this body as a machine which, having been made by the hand of God, is incomparably better ordered than any machine that can be devised by man, and contains in itself movements more wonderful than those in any machine. ... it is for all practical purposes impossible for a machine to have enough organs to make it act in all the contingencies of life in the way in which our reason makes us act.
A chair is not just a product of decorative art in a space, it is a form and a space in itself
We didn't have an awful lot of space. There were six of us born within the space of seven or eight years - I was third. I remember sharing a room with one or other of my brothers - at one point we had three single beds in one room.
Left to its own devices, the State Department machinery tends toward inertia rather than creativity; it is always on the verge of turning itself into an enormous cable machine.
Without an allegiance to beauty, art degenerates into a caricature of itself. It is beauty that animates aesthetic experience, making it so seductive; but aesthetic experience itself degenerates into a kind of fetish or idol if it is held up as an end in itself, untested by the rest of life.
I walk into a large white room. It's a dance studio in midtown Manhattan. The room is clean, virtually spotless if you don’t count the thousands of skid marks and footprints left there by dancers rehearsing. Other than the mirrors, the boom box, the skid marks, and me, the room is empty.
When a pianist sits down and does a virtuoso performance he is in a technical sense transmitting more information to a machine than any other human activity involving machinery allows.
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