Structure
What the advancing interface leaves behind
A kind of moiré pattern
If the features of many are compared
Architecture equals structure
The brilliance of notion
The shape of the sentence
The right overlap
Separation of surface and structure
The nineteenth century saw an increasing separation between the treatment of the surface and the structure of designed objects. Mass production and a mobile market economy encouraged the production of heavily ornamented yet cheaply fabricated products. Affordable manufacture allowed the burgeoning middle class to acquire “luxury” goods fashioned after objects formerly reserved for an elite.
Rearranged
Put together with odd bits of the useless Clarice, a survivors’ Clarice was taking shape, all huts and hovels, festering sewers, rabbit cages. And yet, almost nothing was lost of Clarice’s former splendor; it was all there, merely arranged in a different order, no less appropriate to the inhabitants’ needs than it had been before.
Structural complexity
The idea of overlap, ambiguity, multiplicity of aspect, and the semilattice are not less orderly than the right tree, but more so. They represent a thicker, tougher, more subtle and more complex view of structure.
What we are accustomed to call beautiful
Most objects which we are accustomed to call beautiful, such as a painting or a tree, are single-purpose things, in which, through long development or the impress of one will, there is an intimate, visible linkage from fine detail to total structure.
The resistant virtues of the structure
A Quote by Eladio DiesteThe resistant virtues of the structure that we make depend on their form; it is through their form that they are stable and not because of an awkward accumulation of materials. There is nothing more noble and elegant from an intellectual viewpoint than this; resistance through form.
Narcissus and Goldmund
Duality
All existence seemed to be based on duality, on contrast. Either one was a man or one was a woman, either a wanderer or a sedentary burgher, either a thinking person or a feeling person – no one could breathe in at the same time as he breathed out, be a man as well as a woman, experience freedom as well as order, combine instinct and mind. One always had to pay for the one with the loss of the other, and one thing was always just as important and desirable as the other.
Fear of death
He thought that fear of death was perhaps the root of all art.
Pain and joy
In the light of the torch, as he stared with great curiosity into the face of the screaming woman, lying there in pain, he was struck by something unexpected: the lines in the screaming woman’s distorted face were little different than those he had seen in other women’s faces during the moment of love’s ecstasy. True, the expression of great pain was more violent and disfiguring than the expression of ultimate passion – but essentially it was not different, it was the same slightly grinning contraction, the same sudden glow and extinction.
Miraculously, without understanding why, he was surprised by the realization that pain and joy could resemble each other so closely.
Suddenly the letter has a tail
I believe that the petal of a flower or a tiny worm on the path says far more, contains far more than all the books in the library. One cannot say very much with mere letters and words. Sometimes I’ll be writing a Greek letter, a theta or an omega, and tilt my pen just the slightest bit; suddenly the letter has a tail and becomes a fish; in a second it evokes all the streams and rivers of the world, all that is cool and humid, Homer’s sea and the waters on which Saint Peter wandered.
All that is beautiful and lovely
You are so handsome and you look so happy. But deep inside your eyes there is no gaiety, there is only sorrow, as though your eyes knew that happiness did not exist and that all that is beautiful and lovely does not stay with us long.