A Quote by Bertolt Brecht
Something ignoble, loathsome, undignified attends all associations between people and has been transferred to all objects, dwelling, tools, even the landscape itself.
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It's no use telling us that something was 'mysterious' or 'loathsome' or 'awe-inspiring' or 'voluptuous.' By direct description, by metaphor and simile, by secretly evoking powerful associations, by offering the right stimuli to our nerves (in the right degree and the right order), and by the very beat and vowel-melody and length and brevity of your sentences, you must bring it about that we, we readers, not you, exclaim, 'how mysterious!' or 'loathsome' or whatever it is. Let me taste for myself, and you'll have no need to tell me how I should react.
The early ascendancy of leisure as a means of reputability is traceable to the archaic distinction between noble and ignoble employments. Leisure is honourable and becomes imperative partly because it shows exemption from ignoble labour.
We need to empower all women, both financially and socially, to give them the tools to support themselves and their families. We need to start seeing them as contributors to society, as assets, not as objects of pity or, even worse, objects of shame.
The difference between architecture and engineering comes in only with the creation of schools. It's a bureaucratic distinction. The result of both disciplines is the construction of objects in a landscape.
I have nothing to make me miserable," she said, getting calmer; "but can you understand that everything has become hateful, loathsome, coarse to me, and I myself most of all? You can't imagine what loathsome thoughts I have about everything." "Why, whatever loathsome thoughts can you have?" asked Dolly, smiling. "The most utterly loathsome and coarse; I can't tell you. It's not unhappiness, or low spirits, but much worse. As though everything that was good in me was all hidden away, and nothing was left but the most loathsome.
Men have dominated the field of landscape photography just as they have dominated the land itself. Thus shooting a virgin landscape has been man's work - hunting, not gardening.
Intelligence is the faculty of making artificial objects, especially tools to make tools.
It's very important to distinguish between what most people in the West think about knowledge, and what the Indian concept of knowledge is. In the West the knowledge is something that is tangible, is material, it is something that can be transferred easily, can be bought and sold; or as in India real knowledge is something that is a living being - is a Vidya.
A novel which survives, which withstands and outlives time, does do something more than merely survive. It does not stand still. It accumulates round itself the understanding of all these persons who bring to it something of their own. It acquires associations, it becomes a form of experience in itself, so that two people who meet can often make friends, find an approach to each other, because of this one great common experience they have had.
One of my primary objects is to form the tools so the tools themselves shall fashion the work and give to every part its just proportion.
Reckless, outrageous and undignified behavior has become excused and countenanced as telling it like it is when it is actually just reckless, outrageous and undignified. And when such behavior emanates from the top of our government, it is something else. It is dangerous to a democracy.
We make tools for people. Tools to create, tools to communicate. The age we're living in, these tools surprise you. ... That's why I love what we do. Because we make these tools, and we're constantly surprised with what people do with them.
In short, intelligence, considered in what seems to be its original feature, is the faculty of manufacturing artificial objects, especially tools to make tools, and of indefinitely varying the manufacture.
In short, intelligence, considered in what seems to be its original feature, is the faculty of manufacturing artificial objects, especially tools to make tools, and of indefinitely urging the manufacture.
Does not vanity itself cease to be blamable, is it not even ennobled, when it is directed to laudable objects, when it confines itself to prompting us to great and generous actions?
It is as much the conversations between objects as between us and objects that make museums so valuable.
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