A Quote by David Adjaye

Buildings for me represent opportunities of agency, transformation, and storytelling. They are not just artifacts. There is this big tradition of buildings-as-artifacts - constructed artifacts - but for me they are these incredible sites of negotiation.
I personally have never trusted museums. ... It is because museums, broadly speaking, live off of the art and artifacts of others, often art and artifacts that have been obtained by dubious means. But they also manipulate whatever it is they present to the public; hence, until Judy Chicago, in the 1970s ... few women artists were hung in any major museum. Indian artists? Artifacts only, please. Black artists? Something musical, maybe? And so forth.
Leibniz endeavored to provide an account of inference and judgment involving the mechanical play of symbols and very little else. The checklists that result are the first of humanity's intellectual artifacts. They express, they explain, and so they ratify a power of the mind. And, of course, they are artifacts in the process of becoming algorithms.
I'd love to go and visit the Mosque in Mecca again, just for the sheer beauty of it, not for God - much the way a non-Catholic might go to Vatican City because of the beauty of the buildings and the artifacts.
Bridges represent archetypal problems. They are artifacts that bring you across or around an obstacle. So they have an unbelievable force.
To me, recordings are little fourth-dimension artifacts, because they already are representatives of past, present, and future, just inherently in their existence.
Human artifacts not only include material structures and objects, such as buildings, machines, and automobiles, but they also include organizations, organizational structures like extended families . . . tribes, nations, corporations, churches, political parties, governments, and so on. Some of these may grow unconsciously, but they all originate and are sustained by the images in the human mind.
But when you see personal artifacts relating to - by genealogy at least - a living human being, it was just more impressive to me than just about anything I've ever read about slavery before.
I have an interest in Native American artifacts, mainly Plains Indians from the 1840s to the 1900s, and I go in and out of that. I get really into it, and then I put it down, but it's surrounding me.
I love the idea of carrying on some kind of tradition using some of the artifacts from people that touched my life. They're a continuum, too. I still use my father's tools and some of my grandfather's tools. There's a very romantic streak in me. I confess, I'm a romantic, but I like the idea.
I am also really into religious artifacts.
I have a lot of artifacts - books on witchcrafts and talismans. I have a big, big collection of original occult books from the 1800s and 1700s, and some of the oldest books on apparitions and vampires. All original printings. It's not that I'm a crazy believer, I just find it to be amazing research material.
But that was the trouble with ancient artifacts - no one really knew what they did.
I don't have any artifacts of my profession in my house; the Oscar is in storage.
The beauty of artifacts is in how they reassure us we’re not the first to die.
We are that strange species that constructs artifacts intended to counter the natural flow of forgetting.
What we call art would seem to be specialist artifacts for enhancing human perception.
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