A Quote by Claes Oldenburg
The main reason for the colossal objects is the obvious one, to expand and intensify the presence of the vessel - the object.
Related Quotes
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
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.
The only objects of practical reason are therefore those of good and evil. For by the former is meant an object necessarily desired according to a principle of reason; by the latter one necessarily shunned, also according to a principle of reason.
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.
The main reason for the armed resistance is the American military presence.
[There are] unseen objects that await us, if we as architects begin to think about designing not the object, but a process to generate objects.
Perception without the perceiver in meditation is to commune with the height and depth of the immense. This perception is entirely different from seeing an object without an observer, because in the perception of meditation there is no object and therefore no experience. can, however, take place when the eyes are open and one is surrounded by objects of every kind. But then these objects have no importance at all. One sees them but there is no process of recognition, which means there is no experiencing.
Even after the observation of the frequent conjunction of objects, we have no reason to draw any inference concerning any object beyond those of which we have had experience.
It is a great mistake to regard a certain object as pleasurable in itself and to store the idea of it in the mind in hope of fulfilling a want by its actual presence in the future. If objects were pleasurable in themselves, then the same dress or food would always please everyone, which is not the case.
Holding onto and manipulating physical objects is one of the things we learn earliest and do the most. It should not be surprising that object control is the basis of one of the five most fundamental metaphors for our inner life. To control objects, we must learn to control our bodies. We learn both forms of control together. Self-control and object control are inseparable experiences from earliest childhood. It is no surprise that we should have as a metaphor-a primary metaphor-Self Control is Object Control.
What can be seen on earth points to neither the total absence nor the obvious presence of divinity, but to the presence of a hidden God. Everything bears this mark.
The main objects of all science, the freedom and happiness of man. . . . [are] the sole objects of all legitimate government. A plaque with this quotation, with the first phrase omitted, is in the stairwell of the pedestal of the Statue of Liberty.
Just as love is an orientation which refers to all objects and is incompatible with the restriction to one object, so is reason a human faculty which must embrace the whole of the world with which man is confronted.
God is a reality of spirit He cannot be conceived as an object, not even as the very highest object. God is not to be found in the world of objects.
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.
Postmodernism shifts the basis of the work of art from the object to the transaction between the spectator and the object and further deconstructs this by negating the presence of a representative objective viewer.
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