A Quote by Oscar Niemeyer

I deliberately disregarded the right angle and rationalist architecture designed with ruler and square to boldly enter the world of curves and straight lines offered by reinforced concrete... This deliberate protest arose from the environment in which I lived, with its white beaches, its huge mountains, its old baroque churches, and the beautiful suntanned women.
Concrete you can mold, you can press it into - after all, you haven't any straight lines in your body. Why should we have straight lines in our architecture? You'd be surprised when you go into a room that has no straight line - how marvelous it is that you can feel the walls talking back to you, as it were.
Mozart, Pascal, Boolean algebra, Shakespeare, parliamentary government, baroque churches, Newton, the emancipation of women, Kant, Balanchine ballets, et al. don’t redeem what this particular civilization has wrought upon the world. The white race is the cancer of human history.
Miss America was always white. All the beautiful brown women in America, beautiful sun tans, beautiful shapes, all types of complexions, but she always was white.And Miss World was always white, and Miss Universe was always white.And the angel fruit cake was the white cake and the devil food cake was the chocolate cake.I said, 'Momma, why is everything white?' I always wondered. And the President lived in the White House.
I organize the opposition between colors, lines and curves. I set curves against straight lines, patches of color against plastic forms, pure colors against subtly nuanced shades of gray.
In right-angled triangles the square on the side subtending the right angle is equal to the squares on the sides containing the right angle.
While there are so many beautiful Baroque churches and it's a beautiful artistic tradition, it almost gets hideous and grotesque if you push it further. You can take something beautiful and overdo it.
I'd spend every summer in Longview on my grandfather's farm. It was a tiny little town divided by a river, which was the segregation line: that side white, this side black. And meanwhile, I lived in Compton - basically, another whole world sealed into 10 square blocks. It's interesting how insular an environment can be.
Baroque sculpture and interior design has a quality of creating an environment that seems organic because it's full of curves and details, like a forest.
Or if the hypothesis were offered us of a world in which Messrs. Fourier's and Bellamy's and Morris's Utopias should all be outdone, and millions kept permanently happy on the one simple condition that a certain lost soul on the far-off edge of things should lead a life of lonely torment, what except a specifical and independent sort of emotion can it be which would make us immediately feel, even though an impulse arose within us to clutch at the happiness so offered, how hideous a thing would be its enjoyment when deliberately accepted as the fruit of such a bargain?
Emmitt Till had walked into a cultural narrative in which his role was already tragically written. It was a narrative designed to preserve white supremacy. So it gave power - the right to kill - to any white claiming to defend the honor of white women.
Today we live in a chaos of straight lines, in a jungle of straight lines. If you do not believe this, take the trouble to count the straight lines which surround you. Then you will understand, for you will never finish counting.
It's kind of like trying to make straight lines from curves, but involving shapes that sort of dictate what the curves are, if you like, and the difference between two separate pieces creates a third transitional piece if you like.
There are moods in which one feels the impulse to enter a tacit protest against too gross an appetite for pure aesthetics in this starving and sinning world. One turns half away, musingly, from certain beautiful useless things.
Truth; that long clean clear simple undeniable unchallengeable straight and shining line, on one side of which black is black and on the other white is white, has now become an angle, a point of view.
One of the advantages of this found footage format is that you can have deliberately badly composed frames. Here we can put a camera in the weirdest angle and it kind of throws you off. You never know what you are supposed to be paying attention to. It's deliberate chaos.
In an old house in Paris that was covered with vines 74 lived twelve little girls in two straight lines.
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