A Quote by Wim Crouwel
The meaning is in the content of the text and not in the typeface, and that is why we loved Helvetica very much.
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Helvetica was a real step from the 19th century typeface... We were impressed by that because it was more neutral, and neutralism was a word that we loved. It should be neutral. It shouldn't have a meaning in itself. The meaning is in the content of the text and not in the typeface.
I remember a time at Yale when my work was being critiqued by Paul Rand. Mr. Rand told me only to use Helvetica as a display face never in text, then he squinted, leaned in, and whispered in my ear, "because Helvetica looks like dogshit in text".
Jazz musicians like John Coltrane needed these very clear titles for their abstract music, and your decision to bring voices into your music as a way to tap into content. It's related to the way my text-based work still functions as abstraction for me. If I repeat a sentence down a canvas, the text starts to smudge and disappear. It essentially becomes an abstract piece. The meaning of the text is still there.
Each typeface is a piece of history, like a chip in a mosaic that depicts the development of human communication. Each typeface is also a visual record of the person who created it - his skill as a designer, his philosophy as an artist, his feeling for... the details of each letter and the resulting impressions of an alphabet or a text line.
Helvetica is the jeans, and Univers the dinner jacket. Helvetica is here to stay.
The meaning of a work is not what the author had in mind at some point, nor is it simply a property of the text or the experience of a reader. Meaning is an inescapable notion because it is not something simple or simply determined. It is simultaneously an experience of a subject and a property of a text. It is both what we understand and what in the text we try to understand.
The Text is plural. Which is not simply to say that it has several meanings, but that it accomplishes the very plural of meaning: an irreducible (and not merely an acceptable) plural. The Text is not a co-existence of meanings but a passage, an overcrossing; thus it answers not to an interpretation, even a liberal one, but to an explosion, a dissemination.
Most cinema is not about images but text. Why on earth have we based cinema on text? Why can't we break that umbilical cord? Why do we have to pollute cinema?
People respond faster to you on a text than an e-mail. Why is that? Why will they ignore an e-mail, but get back to a text?
I do not deal with the text [of the Bible] scientifically. I read it, I'm interested in its layers of meaning, but my relation to it is much more an emotional one.
This quality, I mean Geoffrey was with me, was very easy doing - he loved me very much, I loved him very much, and we understood each other so well that it was a pleasure to make music.
Originalism says that when you consult the text, you give it the meaning it had when it was adopted, not some later modern meaning.
With Orff it is text, text, text - the music always subordinate. Not so with me. In 'Magnificat,' the text is important, but in some places I'm writing just music and not caring about text. Sometimes I'm using extremely complicated polyphony where the text is completely buried. So no, I am not another Orff, and I'm not primitive.
The first forty years of our life give the text, the next thirty furnish the commentary upon it, which enables us rightly to understand the true meaning and connection of the text with its moral and its beauties.
I do text a lot. Sometimes, at night, my thumbs hurt because I've texted so much, so I definitely text too much.
The truth is, as much as I loved writing restaurant reviews, it always felt very self-indulgent to me. It was so much fun, I loved doing it, but there's so much else to say about food.
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