A Quote by Neri Oxman
Unlike a pressed or blown-glass part, which traditionally has smooth internal surface features, a printed part can have complex surface features on the inside as well as the outside.
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The reason you see so many volcanoes on Venus is partly due to the fact that there's virtually no erosion there. So on Venus, you're seeing features, some of which are hundreds of millions of years old on the surface. On Earth, we do not see any surface features nearly that old - you only see much more recent features.
Whenever we think of the body as a vessel for artistic ideas, we somehow always focus on the surface of the body. But the truth is that there is no surface of the body independent of its interior. It's obvious that the outside of the body is always connected to the inside, to thought processes and to an internal anatomy.
Internalist approaches to epistemology, I believe, have a great deal of intuitive appeal. Internalists believe that the features in virtue of which a belief is justified must somehow be internal to the agent. On some views, this amounts to the claim that these features must be accessible to introspection and armchair reflection. On others, it amounts only to the claim that they must be mental features.
In 'Fable 1,' the number of features was more important to me than what the features did. And as a games designer I've come to realize that it's not the number of features you have, it's the way that those features interact.
A painting is an object which has an emphatic frontal surface. On such a surface, I paint a black band which does not recede, a color band which does not obtrude, a white square or rectangle which does not move back or forth, to or fro, or up or down; there is also a painted white exterior frame band which is edged round the edge to the black. Every part is painted and contiguous to its neighbor; no part is above or below any other part. There is no hierarchy. There is no ambiguity. There is no illusion. There is no space or interval (time).
There are certain conceptual powers in this project, like the relationship of glass to sand, and the idea of putting glass back into the earth, which is where it comes from, which are related to the whole concept of I Am. So there's that one below-surface idea, and then there's these other practical and more pragmatic ideas about how the light functions and the geometry and mathematics behind the reverberation of light from the surface outward.
Keep a cool surface. Calm. Detached. As inside a part of you has been shattered.
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.
When a photon comes down, it interacts with electrons throughout the glass, not just on the surface. The photon and electrons do some kind of dance, the net result of which is the same as if the photon hit only on the surface.
This surface good-nature which captivates a new acquaintance and is no bar to treachery, which knows no scruple and is never at fault for an excuse, which makes an outcry at the wound which it condones, is one of the most distinctive features of the journalist. This camaraderie (the word is a stroke of genius) corrodes the noblest minds; it eats into their pride like rust, kills the germ of great deeds, and lends a sanction to moral cowardice.
It is the surface I am interested in. Because the surface is the inside.
When the conception of internal form is governed by edge, color appears to remain on or above the surface. I think, on the contrary, of color as being seen in and throughout, not solely on, the surface.
There aren't really rules for painting, but there’s certain facts and fictions about painting. Part of what I do is document another surface and sort of translate it. They’re like translations, and then part of it is fiction, which is invention.
It is only to the finest natures that age gives an added beauty and distinction; for the most persistent self has then worked its way to the surface, having modified the expression, and to some extent, the features, to its own likeness.
Our solar system is fantastically bizarre. There are worlds with features we never imagined. Storms larger than planets, moons with under-surface oceans, lakes of methane, worldlets that swap places...and that's just at Saturn.
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.
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