A Quote by Jacques Barzun
Music, not being made up of objects nor referring to objects, is intangible and ineffable; it can only be as it were inhaled by the spirit: the rest is silence.
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...man is an analogist, and studies relations in all objects. He is placed in the center of beings, and a ray of relation passes from every other being to him. And neither can man be understood without these objects, nor these objects without man.
Silence and stillness are not states and therefore cannot be produced or created. Silence is the non-state in which all states arise and subside. Silence, stillness and awareness are not states and can never be perceived in their totality as objects. Silence is itself the eternal witness without form or attributes. As you rest more profoundly as the witness, all objects take on their natural functionality, and awareness becomes free of the mind's compulsive contractions and identifications. It returns to its natural non-state of Presence.
Mathematicians do not study objects, but relations among objects; they are indifferent to the replacement of objects by others as long the relations don't change. Matter is not important, only form interests them.
Mathematicians do not deal in objects, but in relations between objects; thus, they are free to replace some objects by others so long as the relations remain unchanged. Content to them is irrelevant: they are interested in form only.
True, absolute silence and true, absolute love are not different. Absolute silent awareness overflows with simple, fulfilled absolute love. Objects - people, nature, emotions - may or may not appear. Objects are not needed and they are welcomed. The joy of this full silence is uncaused and unlimited. Always here, always discovering itself. It is the treasure, and it is hidden only when we refuse to keep quiet and find out who we are.
I don’t have a theoretical language for music. I’m really inspired by sculpture, so I like to say, ‘you’re not making music, you’re creating a space. You’re building a room, putting some objects in it, and seeing what happens to the objects over time.’
When you talk about objects, one other thing automatically comes attached to that thing, and that is gestures: how we manipulate these objects, how we use these objects in everyday life. We use gestures not only to interact with these objects, but we also use them to interact with each other.
No word meaning "art" occurs in Aivilik, nor does "artist": there are only people. Nor is any distinction made between utilitarian and decorative objects. The Aivilik say simply, "A man should do all things properly."
In true meditation the emphasis is on being awareness; not on being aware of objects, but on resting as primordial awareness itself. Primordial awareness is the source in which all objects arise and subside. As you gently relax into awareness, into listening, the mind's compulsive contraction around objects will fade. Awareness naturally returns to its non-state of absolute unmanifest potential, the silent abyss beyond all knowing.
The structure underlying the phenomena is not given by material objects like the atoms of Democritus but by the form that determines the material objects. The Ideas are more fundamental than the objects.
My pictures are devoid of objects; like objects, they are themselves objects. This means that they are devoid of content, significance or meaning, like objects or trees, animals, people or days, all of which are there without a reason, without a function and without a purpose. This is the quality that counts. Even so, there are good and bad pictures.
I love the life of objects. When the children go to bed, the objects come to life. I like to tell stories about the life of inanimate objects.
We need objects to remind us of the commitments we've made. That carpet from Morocco reminds us of the impulsive, freedom-loving side of ourselves we're in danger of losing touch with. Beautiful furniture gives us something to live up to. All designed objects are propaganda for a way of life.
Objects close to the eye shut out much larger objects on the horizon; and splendors born only of the earth eclipse the stars. So a man sometimes covers up the entire disk of eternity with a dollar, and quenches transcendent glories with a little shining dust.
I grew up in a time when Eames and Le Corbusier and Frank Lloyd Wright and other architects were putting their furniture and objects on the market. You could buy some of those objects on the open market. Eames was a huge influence on all of us in school.
Pinball games were constrained by physical limitations, ultimately by the physical laws that govern the motion of a small metal ball. The video world knows no such bounds. Objects fly, spin, accelerate, change shape and color, disappear and reappear. Their behavior, like the behavior of anything created by a computer program, is limited only by the programmer's imagination. The objects in a video game are representations of objects. And a representation of a ball, unlike a real one, never need obey the laws of gravity unless its programmer wants it to.
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