A Quote by Reuben Heyday Margolin

What if every seemingly isolated object was actually just where the continuous wave of that object poked through into our world? — © Reuben Heyday Margolin
What if every seemingly isolated object was actually just where the continuous wave of that object poked through into our world?
Fear, as opposed to anxiety, has a definite object, which can be faced, analyzed, attacked, endured... anxiety has no object, or rather, in a paradoxical phrase, its object is the negation of every object.
Go to the object. Leave your subjective preoccupation with yourself. Do not impose yourself on the object. Become one with the object. Plunge deep enough into the object to see something like a hidden glimmering there.
Paint what you really see, not what you think you ought to see; not the object isolated as in a test tube, but the object enveloped in sunlight and atmosphere, with the blue dome of Heaven reflected in the shadows.
It is clear that every immediate object of our senses both exists and is real in the primary meaning of these terms so long as we remain aware of the object.
A life is such a strange object, at one moment translucent, at another utterly opaque, an object I make with my own hands, an object imposed on me, an object for which the world provides the raw material and then steals it from me again, pulverized by events, scattered, broken, scored yet retaining its unity; how heavy it is and how inconsistent: this contradiction breeds many misunderstandings.
All the things and events we usually consider as irreconcilable, such as cause and effect, past and future, subject and object, are actually just like the crest and trough of a single wave, a single vibration. For a wave, although itself a single event, only expresses itself through the opposites of crest and trough, high point and low point. For that very reason, the reality is not found in the crest nor the trough alone, but in their unity.
Our camera does not produce pretty pictures, but exact duplications that, through our renunciation of photographic effects, turn out to be relatively objective. The photo can optically replace its object to a certain degree. This takes on special meaning if the object cannot be preserved.
Nothing is more maddening than being questioned by the object of one's interest about the object of hers, should that object not be you.
When I draw something, I try to build some kind of history into it. Drawing an object that has a certain amount of wear and tear or rust; or a tree that is damaged. I love trying to render not just the object, but what it has been through.
You can take an object and simply put anything you want in that object, and I accessed that partly through Freudian ideas.
Let's call something a rigid designator if in every possible world it designates the same object, a non-rigid or accidental designator if that is not the case. Of course we don't require that the objects exist in all possible worlds.... When we think of a property as essential to an object we usually mean that it is true of that object in any case where it would have existed. A rigid designator of a necessary existent can be called strongly rigid.
Object in/ and space - the first impulse may be to give the object - a position - to place the object. (The object had a position to begin with.) Next - to change the position of the object. - Rauschenberg's early sculptures - A board with some rocks on it. The rocks can be anywhere on the board. - Cage's Japanese rock garden - The rocks can be anywhere (within the garden).
There was a child went forth every day, And the first object he looked upon, that object he became.
Hyperrealism is more about objectifying... how an object can be portrayed when it is seen through a camera's lens... all my paintings are about an object being viewed through human eyes.
We don’t go further than what Marx called the exchange value of the actual object - we don’t think about the relations that that object embodies - and were important to the production of that object whether it’s our food or our clothes or our I-pads or all the materials we use to acquire an education at an institution like this. That would really be revolutionary to develop a habit of imagining the human relations and non human relations behind all of the objects that constitute our environment.
A wave is never found alone, but is mingled with as many other waves as there are uneven places in the object where the said wave is produced.
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