Art

"If we then make the obvious assumption that the content of a map is appropriate to its purpose, there yet remains the equally significant evaluation of the visual methods employed to convey that content."

"No map contains all the information about the territory it represents. The road map we get at the gasoline station may show all the roads in the state, but it will not as a rule show latitude and longitude. A physical map goes into details about the topography of a country but is indifferent to political boundaries. Furthermore, the scale of the map makes a big difference. The smaller the scale the less features will be shown."

"The fact that map is a fuzzy and radial, rather than a precisely defined, category is important because what a viewer interprets a display to be will influence her expectations about the display and how she interacts with it."

"Ideas, unlike solid structures, do not perish. They remain immortal, immaterial and everywhere, like all Divine things. Ideas are a golden, savage landscape that we wander unaware, without a map. Be careful: in the last analysis, reality may be exactly what we think it is."

"Where, after all, do universal human rights begin? In small places, close to home—so close and so small that they cannot be seen on any map of the world."

"Many technologies for mapping and viewing are closely connected to the growth of surveillance in contemporary society and the power of defining who sees and who is seen (Parenti 2003, pp. 3, 9; Dodge & Perkins 2009). The use of surveillance technologies to examine the past does not exclude the present: When satellite imagery is used to search for archaeological sites and their spatial relationships to landforms, images of contemporary settlements and land use are also part of the picture. This intrusion into people’s lives takes place without consent, informed or otherwise."

"Two important characteristics of maps should be noticed. A map is not the territory it represents, but, if correct, it has a similar structure to the territory, which accounts for its usefulness."

"Man always kills the thing he loves, and so we the pioneers have killed our wilderness. Some say we had to. Be that as it may, I am glad I shall never be young without wild country to be young in. Of what avail are forty freedoms without a blank spot on the map?"

"The representational nature of maps, however, is often ignored – what we see when looking at a map is not the word, but an abstract representation that we find convenient to use in place of the world. When we build these abstract representations we are not revealing knowledge as much as are creating it."

"The map is not the territory … The only usefulness of a map depends on similarity of structure between the empirical world and the map."

"As you make your way along life's tumultuous highways, it's important to note that you should always carry a map, have plenty of fuel in the tank, and take frequent rest stops."

"A fundamental value in the scientific outlook is concern with the best available map of reality. The scientist will always seek a description of events which enables him to predict most by assuming least. He thus already prefers a particular form of behavior. If moralities are systems of preferences, here is at least one point at which science cannot be said to be completely without preferences. Science prefers good maps."

"Now, to use the famous metaphor by Alfred Korzybski in his Science and Sanity (1933), this verbal world ought to stand in relation to the extensional world as a map does to the territory it is supposed to represent. If a child grows to adulthood with a verbal world in his head which corresponds fairly closely to the extensional world that he finds around him in his widening experience, he is in relatively small danger of being shocked or hurt by what he finds, because his verbal world has told him what, more or less, to expect. He is prepared for life. If, however, he grows up with a false map in his head [...] he will constantly be running into trouble, wasting his efforts, and acting like a fool. He will not be adjusted to the world as it is: he may, if the lack of adjustment is serious, end up in a mental hospital. (editor's link)"

"Heinz performs the magic trick of convincing us that the familiar objects of our existence can be seen to be nothing more than tokens for the behaviors of the organism that apparently create stable forms. These stabilities persist, for that organism, as an observing system. This is not to deny an underlying reality that is the source of objects, but rather to emphasize the role of process, and the role of the organism in the production of a living map, a map that is so sensitive that map and territory are conjoined."

"Understanding how maps work and why maps work (or do not work) as representations in their own right and as prompts to further representations, and what it means for a map to work, are critical issues as we embark on a visual information age."

"In generalizing lies the difficulty of scientific map-making, for it no longer allows the cartographer to rely merely on objective facts but requires him to interpret them subjectively. To be sure the selection of the subject matter is controlled by considerations regarding its suitability and value, but the manner in which this material is to be rendered graphically depends on personal and subjective feeling. But the latter must not predominate: the dictates of science will prevent any erratic flight of the imagination and impart to the map a fundamentally objective character in spite of all subjective impulses. It is in this respect that maps are distinguished from fine products of art. Generalized maps and, in fact, all abstract maps should, therefore, be products of art clarified by science."

"We invented a nonexistent Plan, and They not only believed it was real but convinced themselves that They had been part of it for ages, or rather They identified the fragments of their muddled mythology as moments of our Plan, moments joined in a logical, irrefutable web of analogy, semblance, suspicion. But if you invent a plan and others carry it out, it's as if the Plan exists. At that point it does exist. Hereafter, hordes of Diabolicals will swarm through the world in search of the map. We offered a map to people who were trying to overcome a deep private frustration. What frustration? Belbo's first file suggested it to me: There can be no failure if there really is a Plan. Defeated you may be, but never through any fault of your own. To bow to a cosmic will is no shame. You are not a coward; you are a martyr."

"A map is not the territory. - Alfred Korzybski"

"We may think of maps and mapping as an objective process, but that would be an illusion. What gets mapped, and more importantly, what does not, is a product of various social, economic, and political phenomena. Quite apart from border disputes and contentious sovereignty, mapping also reflects political priorities. Creating the survey data that can be used in maps is expensive, and large-scale mapping endeavors are typically the preserve of states, whose ability to deliver that data often depends on resources that compete with other governmental priorities. This is true especially in resource-constrained settings."

"Believable fairy-stories must be intensely practical. You must have a map, no matter how rough. Otherwise you wander all over the place. In The Lord of the Rings I never made anyone go farther than he could on a given day"

"History is not everything, but it is a starting point. History is a clock that people use to tell their political and cultural time of day. It is a compass they use to find themselves on the map of human geography. It tells them where they are but, more importantly, what they must be."

"A face is a road map of someone's life. Without any need to amplify that or draw attention to it, there's a great deal that's communicated about who this person is and what their life experiences have been."

"You fall in love with somebody who fits within what I call your 'love map,' an unconscious list of traits that you build in childhood as you grow up. And I also think that you gravitate to certain people, actually, with somewhat complementary brain systems."

"This seems highly likely, especially as it has been shown that in several systems mutations affecting the same amino acid are extremely near together on the genetic map."

"Let's not pretend that mental phenomena can be mapped on to the characteristics of billiard balls."

"There are no maps to lead us where we are going, to this new world of our own making. As the world looks back to nine decades of war, of strife, of suspicion, let us also look forward—to a new century, and a new millennium, of peace, freedom and prosperity."

"You can't physically touch software. You can hold a floppy disk or CD-ROM in your hand, but the software itself is a ghost that can be moved from one object to another with little difficulty. In contrast, a road is a solid object that has a definite size and shape. You can touch the material and walk the route... Software is a codification of a huge set of behaviors: if this occurs, then that should happen, and so on. We can visualize individual behaviors, but we have great difficulty visualizing large numbers of sequential and alternative behaviors... The same things that make it hard to visualize software make it hard to draw blueprints of that software. A road plan can show the exact location, elevation, and dimensions of any part of the structure. The map corresponds to the structure, but it's not the same as the structure. Software, on the other hand, is just a codification of the behaviors that the programmers and users want to take place. The map is the same as the structure... This means that software can only be described accurately at the level of individual instructions... A map or a blueprint for a piece of software must greatly simplify the representation in order to be comprehensible. But by doing so, it becomes inaccurate and ultimately incorrect. This is an important realization: any architecture, design, or diagram we create for software is essentially inadequate. If we represent every detail, then we're merely duplicating the software in another form, and we're wasting our time and effort."

"In fact, it is Shakespeare who gives us the map of the mind. It is Shakespeare who invents Freudian Psychology. Freud finds ways of translating it into supposedly analytical vocabulary."

"The map is not the territory, and the name is not the thing named."

"“It does not appear to be too difficult,” Alain agreed. “But I remember being cautioned that maps carry their own illusions, often making appear simple a journey which is actually far more difficult in practice.”"

"The three basic mechanisms of averaging, feedback and division of labor give us a first idea of a how a CMM [Collective Mental Map] can be developed in the most efficient way, that is, how a given number of individuals can achieve a maximum of collective problem-solving competence. A collective mental map is developed basically by superposing a number of individual mental maps. There must be sufficient diversity among these individual maps to cover an as large as possible domain, yet sufficient redundancy so that the overlap between maps is large enough to make the resulting graph fully connected, and so that each preference in the map is the superposition of a number of individual preferences that is large enough to cancel out individual fluctuations. The best way to quickly expand and improve the map and fill in gaps is to use a positive feedback that encourages individuals to use high preference paths discovered by others, yet is not so strong that it discourages the exploration of new paths."

"Wars of nations are fought to change maps. But wars of poverty are fought to map change."

"Leonardo Da Vinci combined art and science and aesthetics and engineering, that kind of unity is needed once again."

"The taste of the more recent accessions to the leisure class proper and of the middle and lower classes still requires a pecuniary beauty to supplement the aesthetic beauty, even in those objects which are primarily admired for the beauty that belongs to them as natural growths."

"In aesthetic theory it might be extremely difficult, if not quite impracticable, to draw a line between the canon of classicism, or regard for the archaic, and the canon of beauty."

"The universe was made on purpose, the circle said. In whatever galaxy you happen to find yourself, you take the circumference of a circle, divide it by its diameter, measure closely enough, and uncover a miracle — another circle, drawn kilometers downstream of the decimal point. There would be richer messages farther in. It doesn't matter what you look like, or what you're made of, or where you come from. As long as you live in this universe, and have a modest talent for mathematics, sooner or later you'll find it. It's already here. It's inside everything. You don't have to leave your planet to find it. In the fabric of space and in the nature of matter, as in a great work of art, there is, written small, the artist’s signature. Standing over humans, gods, and demons, subsuming Caretakers and Tunnel builders, there is an intelligence that antedates the universe."

"But aesthetics is not religion, and the origins of religion lie somewhere completely different. They lie anyway, these roses smell too sweet and the deep roar of the breaking waves is too splendid, to do justice to such weighty matters now."

"Design is the method of putting form and content together. Design, just as art, has multiple definitions; there is no single definition. Design can be art. Design can be aesthetics. Design is so simple, that's why it is so complicated."

"The World and Life are one. Physiological life is of course not "Life". And neither is psychological life. Life is the world. Ethics does not treat of the world. Ethics must be a condition of the world, like logic. Ethics and Aesthetics are one."

"For me, acting is all about the aesthetic. I just want to keep honing my craft. Not that I'm taking myself too seriously, but every artist should consider himself Picasso. Otherwise, you're doing yourself an injustice."

"If there be music in my reader, I would gladly wake it. Let fairytale of mine go for a firefly that now flashes, now is dark, but may flash again. Caught in a hand which does not love its kind, it will turn to an insignificant, ugly thing, that can neither flash nor fly. The best way with music, I imagine, is not to bring the forces of our intellect to bear upon it, but to be still and let it work on that part of us for whose it exists. We spoil countless precious things by intellectual greed. He who will be a man, and will not be a child, must — he cannot help himself — become a little man, that is, a dwarf. He will, however, need no consolation, for he is sure to think himself a very large creature indeed. If any strain of my "broken music" make a child's eyes flash, or his mother's grow for a moment dim, my labour will not have been in vain."

"The aesthetic nature is unfree because it is moved by something else and does not move according to its own will."

"For art to exist, for any sort of aesthetic activity or perception to exist, a certain physiological precondition is indispensable; intoxication. Intoxication must first have heightened the excitability of the entire machine: no art results before that happens."

""But surely you would explain your idea to one who asked you?" I say again, if I cannot draw a horse, I will not write THIS IS A HORSE under what I foolishly meant for one. Any key to a work of imagination would be nearly, if not quite, as absurd. The tale is there, not to hide, but to show: if it show nothing at your window, do not open your door to it; leave it out in the cold. To ask me to explain, is to say, "Roses! Boil them, or we won't have them!" My tales may not be roses, but I will not boil them. So long as I think my dog can bark, I will not sit up to bark for him."

"Importance of animal aesthetics and its understanding to human aesthetics has been largely ignored, despite its significance to Darwin.... Darwin suggested the aesthetic possibilities of odors, songs, “antics”, especially ornaments of [such as] the most brilliant tints, combs and wattles, beautiful plumes, elongated feathers, top-knots and so forth."

"A fairytale, a sonata, a gathering storm, a limitless night, seizes you and sweeps you away: do you begin at once to wrestle with it and ask whence its power over you, whither it is carrying you? The law of each is in the mind of its composer; that law makes one man feel this way, another man feel that way. To one the sonata is a world of odour and beauty, to another of soothing only and sweetness. To one, the cloudy rendezvous is a wild dance, with a terror at its heart; to another, a majestic march of heavenly hosts, with Truth in their centre pointing their course, but as yet restraining her voice. The greatest forces lie in the region of the uncomprehended. I will go farther. The best thing you can do for your fellow, next to rousing his conscience, is — not to give him things to think about, but to wake things up that are in him; or say, to make him think things for himself. The best Nature does for us is to work in us such moods in which thoughts of high import arise. Does any aspect of Nature wake but one thought? Does she ever suggest only one definite thing? Does she make any two men in the same place at the same moment think the same thing? Is she therefore a failure, because she is not definite? Is it nothing that she rouses the something deeper than the understanding — the power that underlies thoughts? Does she not set feeling, and so thinking at work? Would it be better that she did this after one fashion and not after many fashions? Nature is mood-engendering, thought-provoking: such ought the sonata, such ought the fairytale to be."

""But a man may then imagine in your work what he pleases, what you never meant!" Not what he pleases, but what he can. If he be not a true man, he will draw evil out of the best; we need not mind how he treats any work of art! If he be a true man, he will imagine true things: what matter whether I meant them or not? They are there none the less that I cannot claim putting them there! One difference between God's work and man's is, that, while God's work cannot mean more than he meant, man's must mean more than he meant. For in everything that God has made, there is layer upon layer of ascending significance; also he expresses the same thought in higher and higher kinds of that thought: it is God's things, his embodied thoughts, which alone a man has to use, modified and adapted to his own purposes, for the expression of his thoughts; therefore he cannot help his words and figures falling into such combinations in the mind of another as he had himself not foreseen, so many are the thoughts allied to every other thought, so many are the relations involved in every figure, so many the facts hinted in every symbol. A man may well himself discover truth in what he wrote; for he was dealing all the time with things that came from thoughts beyond his own."

"Scientific understanding is often beautiful, a profoundly aesthetic experience which gives pleasure not unlike the reading of a great poem."

"A’s papers contain a number of attempts to formulate an aesthetic philosophy of life. A single, coherent, aesthetic view of life can scarcely be carried out. B’s papers contain an ethical view of life. As I let this thought sink into my soul, it became clear to me that I might make use of it in choosing a title. The one I have selected precisely expresses this. The reader cannot lose very much because of this title, for while reading the book he may perfectly well forget the title. Then, when he has read the book, he may perhaps reflect upon the title. This will free him from all finite questions as to whether A was really convinced of his error and repented, whether B conquered, or if it perhaps ended by B going over to A’s opinion. In this respect these papers have no ending."

"People flock about the poet and say to him: do sing again; Which means, would that new sufferings tormented your soul, and: would that your lips stayed fashioned as before, for your cries would only terrify us, but your music is delightful. And the critics join them, saying: well done, thus must it be according to the laws of aesthetics. Why, to be sure, a critic resembles a poet as one pea another, the only difference being that he has no anguish in his heart and no music on his lips. Behold, therefore would I rather be a swineherd on Amager, and be understood by the swine than a poet, and misunderstood by men."