A Quote by Robert Lawlor

Within the human consciousness is the unique ability to perceive the transparency between absolute, permanent relationships, contained in the insubstantial forms of a geometric order, and the transitory, changing forms of our actual world. The content of our experience results from an immaterial, abstract, geometric architecture which is composed of harmonic waves of energy, nodes of relationality, melodic forms springing forth from the eternal realm of geometric proportion.
My forms are geometric, but they don't interact in a geometric sense. They're just forms that exist everywhere, even if you don't see them.
Geometric shapes hold an energy pattern, and scientists did some experiments which say certain geometric shapes can affect matter around them. It's simply because when a human looks at a shape, they instantly receive energy from their brain.
Modern man lives more and more in a preponderantly geometric order. All human creation mechanical or industrial is dependent upon geometric intentions.
They certainly aren't connected with the old geometric art. My work isn't geometric in that sense.
Architecture is the masterly, correct and magnificent play of masses brought together in light. Our eyes are made to see forms in light; light and shade reveal these forms; cubes, cones, spheres, cylinders or pyramids are the great primary forms which light reveals to advantage; the image of these is distinct and tangible within us without ambiguity. It is for this reason that these are beautiful forms, the most beautiful forms. Everybody is agreed to that, the child, the savage and the metaphysician.
...the feeling of mathematical beauty, of the harmony of numbers and of forms, of geometric elegance. It is a genuinely aesthetic feeling, which all mathematicians know
Geometric calculus consists in a system of operations analogous to those of algebraic calculus, but in which the entities on which the calculations are carried out, instead of being numbers, are geometric entities which we shall define.
We humans have a wide range of abilities that help us perceive and analyze mathematical content. We perceive abstract notions not just through seeing but also by hearing, by feeling, by our sense of body motion and position. Our geometric and spatial skills are highly trainable, just as in other high-performance activities. In mathematics we can use the modules of our minds in flexible ways - even metaphorically. A whole-mind approach to mathematical thinking is vastly more effective than the common approach that manipulates only symbols.
The non-geometric biomorphic forms of Arp and Miro and Moore are definitely in the ascendant. The formal tradition of Gauguin, Fauvism and Expressionism will probably dominate for some time to come the tradition of Cezanne and Cubism.
Architecture is the triumph of human imagination over materials, methods, and men, to put man into possession of his own Earth. It is at least the geometric pattern of things, of life, of the human and social world. It is at best that magic framework of reality that we sometimes touch upon when we use the word order.
There are three kinds of forms in the human figure: Ovoid forms - egg, ball and barrel masses; Column forms - cylinder, cone; Spatulate forms - box, slab and wedge blocks.
It was clear to me that the forms of consciousness of our inherited and acquired historical education - aesthetic consciousness and historical consciousness - presented alienated forms of our true historical being.
Sexuality is a part of our behavior. It's part of our world freedom. Sexuality is something that we ourselves create. It is our own creation, and much more than the discovery of a secret side of our desire. We have to understand that with our desires go new forms of relationships, new forms of love, new forms of creation. Sex is not a fatality; it's a possibility for creative life. It's not enough to affirm that we are gay but we must also create a gay life.
All forms of beauty, like all possible phenomena, contain an element of the eternal and an element of the transitory - of the absolute and of the particular. Absolute and eternal beauty does not exist, or rather it is only an abstraction creamed from the general surface of different beauties. The particular element in each manifestation comes from the emotions: and just as we have our own particular emotions, so we have our own beauty.
Constructions of a-rhythmical forms, the clash between concrete and abstract forms... ...The acute angle is passionate and dynamic, expressing will and a penetrating force.
In our civilization, there are permanent forms which are part of every epoch and every culture. They are not especially difficult to detect. A minimal knowledge of physics, astrophysics, and perhaps mathematics, brings to light certain patterns that make these subjects easier to understand. It is striking to see the extreme similarity between these scientific propositions and the forms that recur in all times, places and civilizations.
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