The way it has been made The internal structure of a work of art in metal can often throw as much, or more, light on its origin as can be derived from stylistic analysis. Moreover, the techniques employed can provide clues to the habits of mind of the people who originated them. …Perhaps the most important reason for structural studies of museum objects is that the intimate knowledge so derived as to the way in which an object has been made adds so greatly to the aesthetic enjoyment of it. Very often some detail and sometimes the whole of an effective design arises directly in the exploitation of the merits and the overcoming of the difficulties of a specific technique, in the reaction between the artist’s fingers and his material. The Interpretation of Microstructures of Metallic Artifacts historytechniquemakingobjects
ƒ/8 and be there "f/8 and be there" is an expression popularly used by photographers to indicate the importance of taking the opportunity for a picture rather than being too concerned about using the best technique. Often attributed to the noir-style New York City photographer Weegee, it has come to represent a philosophy in which, on occasion, action is more important than reflection. Wikipedia en.wikipedia.org photographytechnique
Iconography It is understandable that those students who must work from reproductions of works of art are usually more interested in iconography than in the more subtle questions of technique and quality, but it is regrettable that technical ignorance should so frequently prevent art historians from considering the whole experience of the artist. Cyril Stanley Smith, A Search for Structure artexperiencetechnique
Understanding technique Technique is an essential aspect of any work of art from a trivial trinket to the greatest painting, and some specialized study of it is essential to full appreciation. Though museum labels and catalogs refer to materials and processes — “bronze,” “fresco,” “parcel gilt,” “tempera,” “lacquer on wood,” and so on — they usually display only superficial attention to the essential details of the artist’s technique. Cyril Stanley Smith, A Search for Structure technique
Resonances The resonances arising in workmanship are often very subtle. The fact that the material itself guides the tool differently in different processes of working introduces changes in the overall relationship of curvatures. The smooth curves of surfaces approaching the edge of a jade axe that come about from innumerable abrasive particles moving against a slightly yielding and mechanically unconstrained backing would seem incongruous if other surfaces or outlines were present that had come from cleavage or from the geometric motions of a machine. These could be produced easily enough, but the eye would not establish larger resonances among them. Cyril Stanley Smith, A Search for Structure toolstechniquecraft
The Sound Of Silence A Song by Paul Simon & Art Garfunkel www.simonandgarfunkel.com Hello darkness, my old friendThe flash of a neon lightAnd no one daredSilence like a cancer growsThe neon god they made Silence
Hello darkness, my old friend Hello darkness, my old friend I’ve come to talk with you again darknessmelancholy
The flash of a neon light In restless dreams I walked alone Narrow streets of cobblestone Beneath the halo of a streetlamp I turned my collar to the cold and damp When my eyes were stabbed by the flash of a neon light That split the night And touched the sound of silence streetsurbanismweather
And no one dared And in the naked light I saw Ten thousand people, maybe more People talking without speaking People hearing without listening People writing songs that voices never shared And no one dared Disturb the sound of silence communicationlistening
Silence like a cancer grows “Fools,” said I, “You do not know Silence like a cancer grows Hear my words that I might teach you Take my arms that I might reach you” But my words like silent raindrops fell And echoed in the wells of silence silencediseaserain