A Quote by Ernst Ludwig Kirchner
Every day I studied the nude, and movement in the streets and in the shops [in Berlin]. Out of the naturalistic surface with all its variations I wanted to derive the pictorially determined surface.
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Chicago is constantly auditioning for the world, determined that one day, on the streets of Barcelona, in Berlin's cabarets, in the coffee shops of Istanbul, people will know and love us in our multidimensional glory, dream of us the way they dream of San Francisco and New York.
You can't get at the thing itself, the real nature of the sitter, by stripping away the surface. You can only get beyond the surface by working with the surface. All that you can do is manipulate that surface - gesture, costume, expression - radically and correctly.
NASA has hit a comet with an impactor, during the Deep Impact mission. The goal of that mission was to study the surface by making a crater and stirring up the surface material so it could be studied.
People don't understand that the feel of the surface is so important for a footballer. The ball travels on the surface; our feet move on the surface - all of that goes into how the game is actually played.
I would like to start by emphasizing the importance of surfaces. It is at a surface where many of our most interesting and useful phenomena occur. We live for example on the surface of a planet. It is at a surface where the catalysis of chemical reactions occur. It is essentially at a surface of a plant that sunlight is converted to a sugar. In electronics, most if not all active circuit elements involve non-equilibrium phenomena occurring at surfaces. Much of biology is concerned with reactions at a surface.
... the blinding Hiroshima flash... literally photographed the shadow cast by beings and things, so that every surface immediately became war's recording surface, its film.
The surface cells on my eyes don't root back into my eyeball like a normal person's do. Instead, they want to pull off. At night, the surface of my eye was actually adhering to my eyelid. Once that happened, any movement would cause a tear and trigger nearly indescribable pain.
I just love real characters; they're not pretentious, and every emotion is on the surface, they're regular working people. Their likes, their dislikes, their loves, their hates, their passions; they're all right there on the surface.
I've always been interested, - if you look back at my work from the beginning, really - I've always been interested in the idea of the artificial landscape. Reforming the landscape. Architecture being a method of reforming the earth's surface. We reshape the earth's surface, from architecture to paving streets, to parking lots and buildings that are really reforming the surface of the earth. Reforming nature, taking over what we find. And we're mushing it around and remaking a new earth - or, what we used to call Terra Nova.
Movement on clay is totally different to every other surface and you have to have that balance and understanding of how to slide.
I think one thing with Sweden is that in some way the Swedish society is a very good society, almost perfect on the surface. That is something that makes the writers forced to see what is underneath the surface, because it's always something underneath the surface, of course.
Chocolate and candy. That's what we brought in to our friends. We worked in East Berlin with other artists who were smuggled out to come work in the Western Bloc. It was extraordinary because people in East Berlin just wanted to know what was happening. Music. Fashion. The news. All of the things we get every day.
There's almost no gravity at the surface. If you were standing on [the surface], you could jump into orbit.
Two-thirds of earth's surface is ocean, and all we can see with the naked eye is the surface.
All art is at once surface and symbol. Those who go beneath the surface do so at their peril.
When people look only at the surface and that satisfies them and they think from that surface they see, that is to be truly blind.
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