A Quote by John Muir
How lavish is Nature building, pulling down, creating, destroying, chasing every material particle from form to form, ever changing, ever beautiful.
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Nature is ever at work building and pulling down, creating and destroying, keeping everything whirling and flowing, allowing no rest but in rhythmical motion, chasing everything in endless song out of one beautiful form into another.
Water, whether still or in motion, has so great an attraction for the lover of nature, that the most beautiful landscape seems scarcely complete without it. There are no effects so fascinating as those produced by the reflexions in nature's living mirror, with their delicacy of form, ever fleeting and changing, and their subtle combinations of colour.
We all know of course, that we should never ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever ever fiddle around in any way with electrical equipment. NEVER.
Through death you find yourself, because you no longer identify with form. You realize you are not the form with which you had identified neither the physical nor the psychological form of "me". That form goes. It dissolves and who you are beyond form emerges through the opening where that form was. One could almost say that every form of life obscures God.
In film, there are two ways of including human beings. One is depicting human beings. Another is to create a film form which, in itself, has all the qualities of being human: tenderness, observation, fear, relaxation, the sense of stepping into the world and pulling back, expansion, contraction, changing, softening, tenderness of heart. The first is a form of theater and the latter is a form of poetry.
The heart of man ever finds a constant succession of passions, so that the destroying and pulling down of one proves generally tobe nothing else but the production and the setting up of another.
No good act performed in the world ever dies. Science tells us that no atom of matter can ever be destroyed, that no force once started ever ends; it merely passes through a multiplicity of ever-changing phases. Every good deed done to others is a great force that starts an unending pulsation through time and eternity. We may not know it, we may never hear a word of gratitude or recognition, but it will all come back to us in some form as naturally, as perfectly, as inevitably, . . . as echo answers to sound.
It is not by believing but by doubting that one can attain to the truth, which is ever changing form and condition.
The form is mechanic when on any given material we impress a predetermined form. The organic form, on the other hand, is innate, it shapes as it develops itself from within.
The best design explicitly acknowledges that you cannot disconnect the form from the material - the material informs the form.
Every TV show I've ever made, every game I've ever built, and every book I've ever published has had the common thread of building the biggest, brightest spotlight imaginable and then flipping it around to shine on you.
We refuse to recognize problems of form, but only problems of building. Form is not the aim of our work, but only the result. Form, by itself, does not exist. Form as an aim is formalism; and that we reject.
A piece of jewelry is in a sense an object that is not complete in itself. Jewelry is a ‘what is it?’ until you relate it to the body. The body is a component in design just as air and space are. Like line, form, and color, the body is a material to work with. It is one of the basic inspirations in creating form.
No form of theocracy, whether it's manifested in a violent or non-violent form, is ever good for civilisation, and we have to challenge it in civil society as well as we would challenge Christian-based theocracy, or any other form of bigotry.
You cannot disconnect the form from the material - the material informs the form.
The "How to Slowly Kill Yourself and Others" essay was so hard to write because of the memories, the sensory stuff, but also because it didn't follow the form of any essay that I've ever read. And the truth that I was exploring necessitated that obliteration of traditional form, I think.
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