A Quote by M. Ward

I like using concrete imagery, but I don't feel that's what it's about. It's a combination of concrete and abstract to take the listener somewhere they know better than you. That's true for music, seeing a painting, watching a movie... it's all some kind of an escape.
We speak of concrete and not abstract painting because nothing is more concrete, more real than a line, a color, a surface.
Now why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects?
Compared with men, it is probable that brutes neither attend to abstract characters, nor have associations by similarity. Their thoughts probably pass from one concrete object to its habitual concrete successor far more uniformly than is the case with us. In other words, their associations of ideas are almost exclusively by contiguity. So far, however, as any brute might think by abstract characters instead of by association of con cretes, he would have to be admitted to be a reasoner in the true human sense. How far this may take place is quite uncertain.
The concrete is better than the abstract. The detail is better than the commonplace. The sensual [through the senses] is better than the intellectual. The visual is better than the mental.
I like connecting the abstract to the concrete. There's a tension in that. I believe the reader or listener should be able to enter the poem as a participant. So I try to get past resolving poems.
A lot of my work is about what's abstract and what's pictorial. Is it bubblegum, or is it an abstract painting using bubblegum? The energy comes from walking that line and watching things dip this way and that.
To me, a story can be both concrete and abstract, or a concrete story can hold abstractions. And abstractions are things that really can't be said so well with words.
Listen to us rather than to Arkady Mamontov talking about us. Don't twist and distort everything we say. Let us enter into dialogue and contact with the country, which is ours too, not just Putin's and the Patriarch's. Like Solzhenitsyn, I believe that in the end, words will crush concrete. Solzhenitsyn wrote, "the word is more sincere than concrete, so words are not trifles. Once noble people mobilize, their words will crush concrete."
You feel a certain way in a glass or concrete or limestone building. It has an effect on your skin - the same with plywood or veneer, or solid timber. Wood doesn't steal energy from your body the way glass and concrete steal heat. When it's hot, a wood house feels cooler than a concrete one, and when it's cold, the other way around.
CERN is a concrete example of worldwide, international co-operation - and a concrete example of peace. The place which makes, in my opinion, better scientists, but also better people.
The heart of mathematics consists of concrete examples and concrete problems. Big general theories are usually afterthoughts based on small but profound insights; the insights themselves come from concrete special cases.
If you walked by a street and you was walking a concrete and you saw a rose growing from concrete, even if it had messed up petals and it was a little to the side you would marvel at just seeing a rose grow through concrete. So way is it that when you see some ghetto kid grow out of the dirtiest circumstance and he can talk and he can sit across the room and make you cry, make you laugh, all you can talk about is my dirty rose, my dirty stems and how am leaning crooked to the side, u can't even see that I've come up from out of that.
King Princess is like an attitude. I take comfort in it as kind of a shield to exist in, where I can make cohesive art. And it's androgynous, which is intentional. It's important to me that my art exist in a kind of neutral space, genderless to some degree. And give the listener some imagery to hold on to.
Truth, which is important to a scholar, has to be concrete. And there is nothing more concrete than dealing with babies, burps and bottles, frogs and mud.
Painting is an essentially concrete art and can only consist of the representation of real and existing things. It is a completely physical language, the words of which consist of all visible objects. An object which is abstract, not visible, non-existent, is not within the realm of painting.
Truth, which is important to a scholar, has got to be concrete. And there is nothing more concrete than dealing with babies, burps and bottles, frogs and mud.
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