A Quote by Denise Duhamel
In addition to writing in received forms, I have also had fun making up forms - Möbius strips and visual poems, particularly.
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Southern poets are still writing narrative poems, poems in forms, dramatic poems.
There are three kinds of forms in the human figure: Ovoid forms - egg, ball and barrel masses; Column forms - cylinder, cone; Spatulate forms - box, slab and wedge blocks.
The clarification of visual forms and their organization in integrated patterns as well as the attribution of such forms to suitable objects is one of the most effective training grounds of the young mind.
If you imagine b, d, p, and q, those are letter forms that all the children always mess up. They are mirror forms of one another. That feature is emphasized in a font like Arial, where the shapes are literally mirror forms.
My forms are not abstractions of things in the real world. They're also not symbols. I would say that my job is to invent these forms and to put them together in a way that keeps your interest, to give the forms a quirky identity so you can engage with them, so you realize there's an inner intelligence or logic.
I'm working on poems about work, I guess. Or related to work. Which sounds dull as drywall but I'm having great fun working the vernacular of work into poems. I'm also writing some poems about family. And I don't know, just writing. Taking breaks. Writing some more.
A blend of fact and fiction has been used in various forms since the dawn of creative writing, starting with sagas and epic poems.
I am not so foolish as to declaim against forms. Forms are as essential as bodies; but to exalt particular forms, to adhere to oneform a moment after it is outgrown, is unreasonable, and it is alien to the spirit of Christ.
Architecture is the masterly, correct and magnificent play of masses brought together in light. Our eyes are made to see forms in light; light and shade reveal these forms; cubes, cones, spheres, cylinders or pyramids are the great primary forms which light reveals to advantage; the image of these is distinct and tangible within us without ambiguity. It is for this reason that these are beautiful forms, the most beautiful forms. Everybody is agreed to that, the child, the savage and the metaphysician.
In the Leach Pottery we did most of our work on the wheel. [Bernard] Leach did a little work in the studio, which was press-molded forms, plastic clay pressed into plaster forms to make small rectangular boxes and some vase forms, which he liked to make. These were molds which had been made to an original that he had modeled in solid clay, and during our work there, sometimes I would be pressing these forms as a means of production.
Neither is there figurative and non-figurative art. All things appear to us in the shape of forms. Even in metaphysics ideas are expressed by forms. Well then, think how absurd it would be to think of painting without the imagery of forms. A figure, an object, a circle, are forms; they affect us more or less intensely.
By signing a contract, you accept the conditions, but there are ways and forms. Players are privileged, but those who are in charge of these things have to understand that, in addition of players, we are also people.
Basically the problem is that if the intellect is looking at or beholding the forms, what it will get is some kind of representation or image of the forms, but it won't actually have the forms, it won't touch them as it were, or it won't incorporate them.
Humour is a way of relating and connecting to people, especially when you're a minority or misunderstood. It has the power that other forms of conversations or writing don't have. With all the problems I had, sometimes the only way of coping with it is to make fun of yourself.
The visual and literary arts are of perennial interest to me, and these art forms have become more and more a part of my life; they have become companions of sorts. I cannot imagine my day to day experiences without the presence of these art forms. They're absolutely essential.
What quality is shared by all objects that provoke our aesthetic emotions? Only one answer seems possible— significant form. In each, lines and colors combined in a particular way; certain forms and relations of forms, stir our aesthetic emotions. These relations and combinations of lines and colors, these aesthetically moving forms, I call ‘Significant Form’; and ‘Significant Form’ is the one quality common to all works of visual art.
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