Nearer to the surface If in the following I overemphasize the Orient, this is simply because in the Far East the properties of materials are a little nearer to the surface, a little more consciously a part of what the artist is trying to show. The naturalistic aspects of Oriental philosophy encourage a sensitivity to the quality of materials — or is it the inverse, that an early enjoyment of stone, wood, clay, and fiber gave rise to the philosopher’s perception of the soul in all natural things comparable to man himself? Westerners tend to override materials, usually in ignorance, but sometimes proudly as a tour de force. Cyril Stanley Smith, A Search for Structure materialsoul
In the world of sunlight And here we come back to that forgotten, outcast word, the soul. Indeed, the soul possesses an inner light, the light that an inner vision knows and expresses in the world of brilliant colors, in the world of sunlight. Gaston Bachelard, The Poetics of Space soullight
Tiny robots A Quote "Yes, we have a soul. But it’s made of lots of tiny robots.” — Giulio Giorello Rationality: From AI to Zombies soulconsciousness
It passes by the river "Artists need to be in there from the start, making the argument for quality. The key to this thing is, for example, if you give an engineer a set of criteria which does not include a quality quotient, as it were—that is, if this sense of the quality, the character of the place, is not a part of his original motivation—he will then basically put the road straight down the middle. He has no reason to curve it. But if I can convince him that quality is absolutely a worthwhile thing and we can work out a way in which the road can be efficient and also wander down by the river, then we essentially have both: he provides his sort of expertise in that the road works, I provide quality in that it passes by the river. In that way, art gets built into the criteria from the beginning rather than being added on afterward." Lawrence Wechler & Robert Irwin, Seeing Is Forgetting the Name of the Thing One Sees We want you to work with an artistThe problem with ornament qualitydesignfunctioncollaboration