Quotes About Conceptual

Time is too conceptual. Not that it stops us from filling it in. So much so, we can't even tell whether our experiences belong to time or to the world of physical things.

I don't see any of my records as any more or less conceptual than the others, and I don't really plan some overall idea in advance. The songs all get written under the umbrella of a certain time in your life, and it's natural to find themes that repeat within these periods.

If you're going to use standards as criteria for signing musicians, you can sign thousands. If you're going to use some sort of conceptual interpretation that's based on the tradition of those standards, but is trying to move away from it, you're down to about 10 people or so.

Traditional conceptual art is very dry.

The thing is that I have a really intense, almost compulsive need to record. But it doesn't end there, because what I record is somehow transformed into a creative thing. There is a continuity. Recording is the beginning of a conceptual production. I am somehow collapsing the two - recording and producing - into a single event.

At the beginning of each year, we have conceptual meetings. How are we going to challenge ourselves this year? So we suggested a transsexual or transgender. And to be honest, I am shocked they let us do it.

The abstract kills, the concrete saves.

During its timeless hours of movement and inspection, as it floated on the number-winds and learned from their shape and force, it had become aware of something else, something so far from the conceptual map of the environment it had originally been given as to briefly constitute a new danger to the Nemesis program's logical integrity.

Both European and American historians have done away with any conceptual limits on what in the past needs and deserves investigating. The result, among other things, has been a flood of works on gender history, black history, and ethnic history of all kinds.

I thought conceptual art was a joke.

Aquellos dos hablaban de especie de jerga matemática superior. Nunca entraba en ella nada de carne y hueso: era extraña, fantasmal, espantosamente abstracta.

I think that I came of age in the 1970s with my own work, and it was a time of conceptual and process art, and it was very important not to tell a story. If you told a story, when I was a young artist and first came to N.Y., it was, like, an embarrassing way to make art.

I had never thought that I would be involved in narrative structures. As a young guy, I was more interested in abstract modeling. But as I got older, I began to see that there was no reason to limit myself to any intellectual or conceptual postulate, when in fact I'm a professional student of music.

As Kisley et al. comment about their research: "The correlation between sensory gating and conceptual age was significant."6 By age eight the gating channels begin to take on what will be the default state in adulthood. This further solidifies, narrowing more, at the onset of puberty and generally is in place by the end of adolescence.

There is no way of cutting ourselves free of our conceptual inheritance: all we are required to do is use our experience critically and discriminatingly, refining and improving our inherited ideas, and determining more exactly the limits to their scope.

It would be obvious for me to do conceptual art, and I think I've done it already with smashing bass guitars and whatever - I consider that as conceptual.

Every Chanel show I've been to is very conceptual. Even down to the music and smells, the whole thing is connected.

If the original essence of the thing which we fear could confidently lodge itself within us by its own authority it would be the same in all men. For all men are of the same species and, in varying degrees, are all furnished with the same conceptual tools and instruments of judgement.

Once thought is pulled up short by a yearning that can only be known existentially, it is inevitable that conceptual discourse should give way to the birth of literature...

If we know how metaphors work on a conceptual level, we can control their effects. We can avoid using metaphors that are confusing or distracting, and we can design metaphors that do exactly what we want. When we encounter metaphoric language, we can analyse what makes it effective or not. We can avoid being manipulated by subconscious metaphors, and we can accept the benefits of a metaphor while rejecting any aspects we find unhelpful or inaccurate.

The 'death' of a metaphor is the loss of a connection between a metaphor and a specific word, not the loss of the conceptual metaphor itself. 'Dead' metaphors are words and phrases that were previously metaphoric, not conceptual metaphors that have disappeared. Conceptual metaphors generally 'outlive' the specific words and expressions that involve them.

By the time the child can draw more that scribble, by the age of four or five years, an already well-formed body of conceptual knowledge formulated in language dominates his memory and controls his graphic work. Drawings are graphic accounts of essentially verbal processes. As an essentially verbal education gains control, the child abandons his graphic efforts and relies almost entirely on words. Language has first spoilt drawing and then swallowed it up completely.

I never really thought of myself as a musician. I'm not saying Sonic Youth was a conceptual-art project for me, but in a way, it was an extension of Warhol. Instead of making criticism about popular culture, as a lot of artists do, I worked within it to do something.

I think Damien Hirst is hilarious. And I think he's a true artist. He's not hilarious first; I think he is a real artist, and I also think he's got an amazing sense of humor.