Immigrants To The United States

"Dr. John Bonica decided that the most effective way to combat pain is to treat the person as a whole."

"The challenge of managing chronic pain and suffering born of injuries to troops in WWII galvanized John Bonica and other pioneers, representing several specialties, into action. They refused to consider that their duty to these soldiers, and by extension their brethren in chronic pain of all causes, was finished once pain was controlled after an acute injury or during a surgical procedure."

"Pioneering pain researcher John J. Bonica (1990) believed that being rewarded for pain behaviors is a key factor that transforms acute pain into chronic pain. According to Bonica, people who receive attention, sympathy, relief from normal responsibilities, and disability compensation for their injuries and pain behaviors are more likely to develop chronic pain than are people who have similar injury but receive fewer rewards. Consistent with Bonica's hypothesis, headache patients report more pain behaviors and greater pain intensity when their spouses or significant others respond to pain complaints with seemingly helpful responses, such as taking over chores, turning on the television, or encouraging the patient to rest (Pence, Thorn. Jensen & Romano, 2008)"

"Dr. John Bonica, professor of anesthesiology at the University of Washington and founder of the Multidisplinary Pain Center, Seattle, spearheaded the movement to recognize pain as an entity unto itself. Bonica and other pain specialists are alarmed by an epidemic of pain throughout the industrialized world. ...He estimates that pain results in the loss of some 700 million workdays a year—in litigation, in compensation, and, mostly, in search for relief."

"Doctors practice in the isolation of their private offices, treating patients with the tools of their particular specialties. Compounding what John Bonica calls this "tubular vision" in the medical profession, the specialists don't compare notes or join forces; often they don't even realize whom else the patient has seen or what's already been done. ...sometimes they become impatient with pain—especially when there's no observable pathological reason for a person's complaint."

"The practice of pain rehabilitation increasingly developed during the twentieth century by evolving medical specialties of physical medicine and rehabiltitation, anesthesia, psychiatry, and occupational medicine. John Bonica, one of the fathers of pain medicine, championed a more comprehensive biopsychosocial multidisciplinary approach in the United States in 1947. This approach expanded to include a team of clinicians at the University of Washington in the 1960s. Bonica's collaboration with Wilbert Fordyce, a psychologist, incorporated operant conditioning and other behavioral approaches with more specialized, structured, and in-patient multi-week programs. In the 1980s, John Loeser formalized a more structured program at the University of Washington. This 3-week long, daily program became a model for interdisciplinary treatment."

"The practical turn in modern pain therapy is primarily traced back to American anesthesiologist John Bonica. In the early 1950s, he first tried to found the management of pain on the methods of regional anaesthesia. In 1953, he published a book... Focusing on regional anaesthesia, it was intended to list all known options for treating pain. ...regional anaesthesia alone is not the way to obtain regular therapeutic success in cases of chronic pain. However... it started a move toward detachment from the components of cultural theories that, while suitable for wordy explorations of chronic pain, only considered the statements of patients in a distanced manner, in practice leaving the patients to themselves with their pain."

"What the hell kind of conclusion can you come to there? The most important thing, from the patient's perspective, they don't talk about."

"If I wasn't as busy as I am... I would be a completely disabled guy."

"The continuum—stretching from a pole of "healing through techniques" to the pole of "healing through management"—is not specific to France. ...the gate control theory of pain—had played a crucial role in the development of pain medicine as proposed by John Bonica. The proposals of this anesthetist date from as early as 1944, but only became widely accepted in 1974. ...with the concept of pain clinics launched in 1953 by John Bonica, physicians had access to an organizational model. By the end of the 1970s, this model was widely accepted in the world of pain medicine. It stipulated that lasting pain—chronic pain... should be treated in specific pain clinics or pain centers by multidisciplinary teams... The justification for such a grouping of people stems from Bonica's 1953 book The Management of Pain, where he analyzes the complexity of problems associated with intractable pain that has resisted any traditional treatment in a number of disciplines. ...any evaluation of pain must be carried out on both the physical and the psychological level."

"No medical school has a pain curriculum..."

"He became the first anesthesiologist to experiment with the segmental epidural; he pinpointed exactly which portion of the spine needed to be anesthetized during labor... He became an outspoken advocate for expertise in obstetric anesthesiology, complaining in the Journal of the American Medical Association in 1985 that it was an old custom to assign the least experienced anesthetist and the most antiquated equipment to the maternity ward. ...he observed that interns, residents, and nurses with no training were often ordered to administer anesthesia in delivery rooms at the last minute, a situation that would never be tolerated in the operating room. Bonica urged the creation of twenty-four-hour anesthesia services dedicated to maternity wards, unheard of then, but fairly routine today."

"Some fragmentation of the principles espoused by Dr. Bonica more than forty years ago has occurred, and unidisciplinary "pain clinics" have become commonplace."

"The full array of nociceptors is now deluging the nervous system with a blitz of chemical and electrical signals that the late American pain-management pioneer John Bonica called "the inflammatory soup of prostaglandins, protons, serotonin, histamine, bradykinin, pourines, cytokines, eicosanoids, and neuropeptides. Pain now echoes and amplifies itself as nociceptors form circuits and feedback loops, each link in the chain stimulating its neighbors to greater activity."

"I have declared war on pain."

"The proper management of pain remains, after all, the most important obligation, the main objective, and the crowning achievement of every physician."

"The crucial role of psychological and environmental factors in causing pain in a significant number of patients only recently received attention. As a consequence, there has emerged a sketch plan of pain apparatus with its receptors, conducting fibers, and its standard function which is to be applicable to all circumstances. But... in doing so, medicine has overlooked the fact that the activity of this apparatus is subject to the a constantly changing influence of the mind."

"Pain—one of the most pressing issues of out time."

"Nearly one-third of the population has persistent or recurrent chronic pain—and of those, one-half to two-thirds are either partially or totally disabled for periods of days, weeks, or months, and sometimes permanently."

"As far as the sensory experience of the spectator goes, the most outstanding American kinetic artist is unquestionably the Chinese-born Wen-Ying Tsai. His pieces, which are perfect on the technological level, serve the primary purpose of giving a complete visual experience to the spectator, whose sound solicitations provoke a choreographic, chromatic and rhythmic response in the ‘cybernetic sculptures’. [...]"

"Tsai's Multi-kinetics were dynamically integrated multiple constructions, employing thirty-two kinetic units, each of which contains a configuration of multi-colored gyroscopic forms. With these elements he created an active environmental field that could, apparently, be infinitely extended. Each motorized unit was a self-sufficient entity, and when it was combined with other similar units produced a large-scale kinetic work that joined visual intensity with mechanical power. By controlling the time sequence of each unit in skillful compositions, Tsai used engineering principles to achieve aesthetic ends."

"There can be no doubt that Tsai's phenomena (whether they be works of art in the strict sense, or whether they be fantastic artifices) are extremely important. They show what promises and dangers may be in here in a "play," if it is proposed by a great artist. Because, even if Tsai's phenomena be considered artifices, there can be no doubt that Tsai is a great artist. Not because what he does is pleasant, or because he proposes a play, or because he represents the spirit of our times, but because he reveals to us, through artifice or works of art, the concrete experience of a future full of promise or abysmal danger."

"A painter should never speak because words are not the means at his command. Words cannot express visually dimension at a glance they can only establish their own relationship in time. However, it is possible for a painter, at certain moments of his development to formulate some of the problems he is facing in the growth of his work. A painting cannot be explained. Words can only stimulate the act of looking. A visual problem is never put a priori as a mathematical problem but is born in the process of painting and evolves in a state of unawareness of the painter."

"Seeking an English equivalent for peinture relative, Glarner settled on the term 'relational painting' towards the end of 1946, which he applied retrospectively to some of his earlier paintings and all his subsequent works. It was a term that suited the kind of abstract painting he pursued, focused on relating geometric shapes and ground through colour in ways which would make shape and ground alternate to produce what he called 'pumping planes'. While acknowledging the influence of Piet Mondrian (1872-1944), with whom he was closely associated in New York, Glarner replaced the balancing of horizontality and verticality achieved in Mondrian's painting with interlocking rectangles and wedges that expand out towards the edges of the canvas."

"Art originating in the countercultural tradition - a tradition which became epoch-making - introduced some new specific values into the cultural fabric, values to which the creative activity of Jacek Tylicki refers closely. Through his art, Tylicki lays a stress upon personal experience bearing witness to artistic truth; he searches on his own account for an authenticity and a fullness of existence in its relation to Nature, to other human beings, as well as to himself; and maintains a critical suspiciousness towards the ethical and political models of Western society."

"Make war in art not in reality"

"For a chicken the most beautiful is chicken."

"Give If You Can - Take If You Have To."

"Art happens all the time, everywhere. All we have to do is to keep our minds open."

"The art here does not exist to define conversations or generate dogma, it is here to open up conversations."

"The Universe is the greatest piece of art"

"Avoiding all control, I spread out sheets of white paper or canvas in the nature. For some time they stay in the grass, in the rushes of river, in the meadows or among the rocks. Nature registers its presence, covering the surface of the paper with colors, forms and tracks. This process is controlled by a number of agents; such as space and time, substance and causality. It is governed by nature's intensity. It does not, depend on man's interference. Nature is the greatest and most admirable creator, and unlike logic it doesn't fail. The artist obligation is not to shape - handicraft, but to understand the riddles of reality. In such conception of Art there lies, as in the Universe itself, an immense richness, and a countless variety of forms."

"Purge the world of bourgeois sickness, ‘intellectual’, professional & commercialized culture ... PROMOTE A REVOLUTIONARY FLOOD AND TIDE IN ART, ... promote NON ART REALITY to be grasped by all peoples, not only critics, dilettantes and professionals ... FUSE the cadres of cultural, social & political revolutionaries into united front & action.""

"Never lend Paik a television. He destroys all televisions."

"If you are really short of $ I could send you some (after my next pay, since I have spent my resent pay 99%). Wait another 5 days, I will send some – don't starve meanwhile. Eat grass mixed with chopped leather belt and boiled old shoes – it's vitamin and protein rich. – That's what the Russian guerillas used to eat."

"The Fluxus movement... developed its 'anti-art', anti-commercial aesthetics under the leadership of George Maciunas. Fluxus staged a series of festivals in Paris, Copenhagen, Amsterdam, London and New York, with avant-garde performances often spilling out into the street. Most of the experimental artists of the period, including Joseph Beuys, Yoko Ono and Nam June Paik, took part in Fluxus events. The movement, which still continues, played an important role in the opening up of definitions of what art can be."

"Philip Tetlock has just produced a study which suggests we should view expertise in political forecasting--by academics or intelligence analysts, independent pundits, journalists or institutional specialists--with the same skepticism that the well-informed now apply to stockmarket forecasting... It is the scientific spirit with which he tackled his project that is the most notable thing about his book, but the findings of his inquiry are important and, for both reasons, everyone seriously concerned with forecasting, political risk, strategic analysis and public policy debate would do well to read the book."

"The intellectually aggressive hedgehogs knew one big thing and sought, under the banner of parsimony, to expand the explanatory power of that big thing to “cover” new cases; the more eclectic foxes knew many little things and were content to improvise ad hoc solutions to keep pace with a rapidly changing world."

"beliefs are hypotheses to be tested, not treasures to be guarded."

"How you think matters more than what you think."

"Jacques Lipchitz and Marc Chagall were among the European artists who settled in New York City during the war. Just before and after he arrived in 1941, Lipchitz gave his works such titles as Flight (1940), The Exile's Path (1941), The Rape of Europa (1941), and Theseus and the Minotaur (1942)."

"All my life as an artist I have asked myself: What pushes me continually to make sculpture? I have found the answer — at least the answer for myself. Art is an action against death. It is denial of death."

"The period during the First World War was a very exciting time in Paris, with artists, philosophers, and poets continually discussing and arguing about the work with which they were involved. Although I myself am little concerned with abstract theory, I certainly do think of cubism as a form of emancipation essentially different from artistic movements that had preceded it. Thus, impressionism, while it was a revolutionary technique, was still an essentially naturalistic movement concerned with a precise examination of the nature of light and the effect of changing lights on representational scenes and objects. Cubism did add a new dimension to painting and sculpture, a dimension that changed our way of looking at nature and the work of art."

"I remember one day when Juan Gris told me about a bunch of grapes he had seen in a painting by Picasso. The next day these grapes appeared in a painting by Gris, this time in a bowl; and the day after, the bowl appeared in a painting by Picasso."

"Cubism is not a formula, it is not a school. Cubism is a philosophy, a point of view in the universe. It is like standing at a certain point on a mountain and looking around. If you go higher, things will look different; if you go lower, again they will look different. It is a point of view."

"By the early 1920s I knew that I needed to move beyond the simple cubist vocabulary I had learned and to find a new content, a new personal expression.Abstraction was never enough for me."

"For me sculpture is divinity. This is the only answer that I could find for myself. Art is man's distinctly human way of fighting death. Through art, man achieves immortality and in this immortality we find God."

"I also found so-called great art too pompous, too stiff. What at this time was called minor art was freer, more imaginative, more open to all kinds of unorthodox expression, all kinds of daring in the handling of materials, and I preferred to surround myself with this type of art than with the great collectors' pieces."

"Copy nature and you infringe on the work of our Lord. Interpret nature and you are an artist."

"I am the most curious of all to see what will be the next thing that I will do."