A Quote by Ted Nelson
The ideas keep going, you have the material, you cut because there's a limit to the space allowed to you. And the space is limited because of some other constraints that have to do with money or printing or whatever.
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I think even in bad times it's good to keep some money going into research. And that's the purpose of the whole space program. It's not just exploration and going to see how far we can go out into space and keep people alive and bring them back, although exploration certainly has its place.
I always liked the visuals to be choice and at the same time minimalist. And, I love black boxes. After all, that's what theatre is, it's an empty space, and it's both limited and unlimited because the space is the space, but what you can do with people's imaginations is really endless.
No being exists or can exist which is not related to space in some way. God is everywhere, created minds are somewhere, and body is in the space that it occupies; and whatever is neither everywhere nor anywhere does not exist. And hence it follows that space is an effect arising from the first existence of being, because when any being is postulated, space is postulated.
I consider space to be a material. The articulation of space has come to take precedence over other concerns. I attempt to use sculptural form to make space distinct.
Women are allowed to enter the spaces of the senses, the space of the body, the spaces opened by sensations, all kinds of feelings, but women are not allowed to enter the spaces of reason to the same extent, that is to say the space of ideas, political ideas.
The problem comes up because we ask the question in the wrong way. We supposed that solids were one thing and space quite another, or just nothing whatever. Then it appeared that space was no mere nothing, because solids couldn't do without it. But the mistake in the beginning was to think of solids and space as two different things, instead of as two aspects of the same thing. The point is that they are different but inseparable, like the front end and the rear end of a cat. Cut them apart, and the cat dies.
What greatly attracted me - and it was the main line of advance of Cubism - was how to give material expression to this new space of which I had an inkling. So I began to paint chiefly still lifes, because in nature there is a tactile, I would almost say a manual space... that was the earliest Cubist painting - the quest for space.
I realize that the 2020s are going to be completely different than this decade has been. There's going to be rapid progress. One of the most important aspects is going to be cheaper access to space. It changes everything. We have the ideas and the technology to do a lot of things, but we're limited financially, so, by reducing the cost of access to space, the whole problem is changed. Ultimately, the pieces that are coming together are going to allow us to send humans to Mars - and bring them back.
I actually had four space flights altogether, three times on shuttles. My second flight was really unique for me because I was going back into space, first of all. The first one was like an appetizer at a nice dinner. You know, you want to go up and you want more. So, the second time I got into space, it was neat because I got to actually do two space walks.
We're using the space station as a test bed for some of the technologies that are going to enable us to work autonomously in space and hit some of our deep-space exploration goals.
That you write a phrase or you think of something and it seems to have a deeper charge because the title has to be some kind of marker, something setting out a space, creating a space for what's going to come.
I've always been interested in space in pictures. I think my going deaf increased my spatial sense, because I can't get the direction of sound. I feel that I see space very clearly, and that's because I can't hear it. So it's a compensatory thing.
Looking, touching, material, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins. The energy and space around a material are as important as the energy and space within. The weather--rain, sun, snow, hail, mist, calm--is that external space made visible. When I touch a rock, I am touching and working the space around it. It is not independent of its surroundings, and the way it sits tells how it came to be there.
The great thing about space films generally, with the exception of Apollo 13, is that big stars tend not to work in space and I think that's because space is an equaliser. It makes everyone the same really and suits an ensemble cast and actors who are prepared to work with each other.
So much of what we said sounded crazy, yet none of it was false... as if two theoretical physicists stood on stage to say that when we travel near lightspeed, we get younger than nontravellers; that a mile of space next to the sun is differnt than a mile of space next to the earth because the sun-mile space is curved more than the the earth-mile. Silly ideas, worth the admission price in smiles, but they're true. Is high-energy physics interesting because it's true or because it's crazy?
Whether it's a steroid conversation, or a player who gets into trouble, whatever it may be. Because of that, it makes you wonder what you can do if you had a little more space. That's the fun of the show for me - I have an hour worth of space.
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