material Zitate

I love the stuff and material of writing: words. The games you can play with them. The rhythm and lyricism in a good passage of writing. The power of a simple sentence. I also love the paradoxical bind of writing as both freedom and constraint. You start creating characters and scenes out of thin air. But if you do it well enough, that freedom constricts, because your characters are no longer

inside you. They become their own people, agents on the page who need to act and think and feel in ways true to who they are…

To State Department employees: "Yours is not an easy task nor one which is much appreciated. You don't ask much of your fellow citizens, and if any of you are so inexperienced that you ever do, you will receive very little. Certainly not much in the form of material recompense; certainly not much in the form of appreciation for your work, because you are dealing with matters which, though they

affect life of every citizen of this country intimately, do it in ways which it is not easy for every citizen to understand. And so you are dealing in a field which I called the other day a field of 'alien knowledge,' which seems strange to many of your fellow citizens … We have a tradition in this country of skepticism about government, of looking at it very carefully, of seeing whether our

public servants can take it. That isn't always comfortable, but, on the whole, it is good. Any time when there are governments in the world which are crushing the liberties of their citizens, it is good that in this great country people look with some skepticism upon government as such. That is one of our traditions … "

My experience indicates that most managers receive much more data (if not information) than they can possibly absorb even if they spend all of their time trying to do so. Hence they already suffer from an information overload. They must spend a great deal of time separating the relevant documents. For example, I have found that I receive an average of 43 hours of unsolicited reading material each

week. The solicited material is usually half again this amount.

The American dream that has lured tens of millions of all nations to our shores in the past century has not been a dream of material plenty, though that has doubtlessly counted heavily. It has been a dream of being able to grow to fullest development as a man and woman, unhampered by the barriers which had slowly been erected in the older civilizations, unrepressed by social orders which had

developed for the benefit of classes rather than for the simple human being of any and every class.

It is not the religious beliefs, whether right or wrong, which are opposed to culture and material progress, but that belief which prohibits learning of sciences, earning one's livelihood and the ways of culture. I do not believe that there is any religion in the world which opposes these things. I would rather say that it is non-believing which inevitably leads to disorder and distortion of

culture as in the case of the Nihilists.

And I learned very early [Josef Albers was then ten years old] how to make imitation of wood grain. This is something I have in common with Georges Braque. Braque also learned very early from his father how to imitate marble or wood grain. So I could easily make the appearance of oak or walnut on pine. That is very easy; a very simple technique. And I learned how to imitate marble. I never made

such a good joke as Braque did. When he was in the Mediterranean he fooled his friends. He painted a rowboat that had wood on one side and marble on the other side. You see, when he'd row out of the city it looked as if he were in a boat of a different material than when he came back, you see, one side was imitation wood and the other side was imitation marble.

This is what has Gropius the director made the Bauhaus famous. Not its lamps or its furniture. They are all out of fashion already. But the way of approaching formal problems or material as such, that has made it famous. And the emphasis on material, especially its capacity is my contribution. That was never cleared between us teachers. Kandinsky did what he thought should be done. Klee developed

an absolutely different method. Schlemmer developed absolutely something else. Klee was my so-called form master. In the workshops there they had a crafts master and a form master. The crafts master had to direct the practical work, the mechanics of the workshop. And the form master had to develop the, formal qualities. Klee was my form master in the glass workshop. He came to me and never

criticized anything. He talked about something else. Never asked about any form problem with the windows I was working on. Never a word. He was too respectful. He was the nicest master I could ask for. He talked about exhibitions. He thought I should exhibit. That's another story. We had a good relationship because we never dealt with the same problems. He didn’t attack our problems. He never

brought up a problem.

I discovered soon that teaching has the handicap of retrospection. And that I don't believe in. So I started [at the w:Bauhaus in Dessau] instead a method of handling material with the material itself. So that was my main change. Whereas Itten before [Itten left the Bauhaus in 1923 and Albers followed him as art-teacher] had only spoken about the appearance, 'matiere' - (the French word) and I

said I would turn from 'matiere' - the outside - to the inside, to the capacity of the material, before the appearance. And that changed the attitude basically I think.