Griffith noted at the time of his fieldwork that Mayo carvers were likely to charge more to non-Indian buyers than to their fellow Mayos. And whereas their Pascola customers wanted the masks they purchased, exchanged or borrowed to be freshly painted and new looking, collectors for the most part looked for evidence of wear that added "authenticity."
— Explanatory text at Arizona History Museum
Hopi and other Native consultants say dwellings like this were meant to recycle back to earth after the people left. However, in 1906 the Castle became a national monument to be managed for present and future generations.
— Explanatory text at Montezuma Castle
George H. Rothrock, a pioneering Arizona photographer, took advantage of this site's popularity and painted his advertisement on the rocks overhead.
— Explanatory text at Montezuma Well
Excavation represents a curiosity foreign to American Indian cultures and is often considered culturally offensive. Do objects from the past serve as legitimate educational tools, or is that notion unimportant or even wrong?
— Self-guided tour document at Wupatki National Monument
Imagine all the rock we don't see underneath.
— Lily on the Earth
"Von Neumann devised cellular automata to make a reductionist point about the plausibility of life being in a world with very simple primaries," Toffoli explained. But even Von Neumann, who was a quantum physicist, neglected completely the connections with physics, that a cellular automata could be a model of fundamental physics. Perhaps, Toffoli conjectured, "the complex laws of physics might be rewritten in terms of automata. Might the strange realm of quantum physics be explained as a product of interactions between Von Neumann's mathematical machines, themselves obeying just a few rules."
— Ananyo Bhattacharya, The Man from the Future: The Visionary Life of John Von Neumann
The miscalculations demonstrate that even in an age of electronic intercepts and analysis assisted by fast data collection, human relationships still matter in accurately assessing the morale of a country or military.
The New York Times (part of an article that seems to have been taken off the web)
“We know that in Israel what is temporary becomes permanent,” said Avichay Buaron
— Isabel Kershner, "Ukraine War Ignites Israeli Debate Over Purpose of a Jewish State," The New York Times
Paper knows if you're in a rush.
— Daniel*
The crux of Morgenstern's argument was that any prediction would be acted on by businesses and by the general public, and their collective responses would invalidate it.
— Ananyo Bhattacharya, The Man from the Future: The Visionary Life of John Von Neumann
I don't know what it is about commitment that's beautiful.
— Lex Fridman, "David Wolpe: Judaism | Lex Fridman Podcast #270"
Today's Sunday right? Why's everybody running for. Just kick back and enjoy the song birds.
— Guy outside of Providence train station
Cosmonaut Oleg Artemyev said each new crew that travels to the station gets to choose its own style of flight suit, the AP report said. "It became our turn to pick a color. But in fact, we had accumulated a lot of yellow material so we needed to use it," he said. "So that's why we had to wear yellow."
— Dom Calicchio, "Russian cosmonauts wear Ukrainian colors in arrival at International Space Station," Fox News
And, my favourite, a question of almost scholastic profundity: what is the relationship between a great carver and a poor signature?
— Edmund de Waal, The Hare with Amber Eyes
People who thought he was great so long as his fantasy coincided with theirs. But every time he pushed further—and he always pushed further—they became confused and resentful.
— Tom Wolfe, The Electric Kool-Aid Acid Test
Emilie Lemakis, Met Buttons, 2022
Each of the buttons reports a guard's years on staff at the @metmuseum and their hourly wage. via @nytimes
— @arthandlermag
My Vienna has thinned into other people's Vienna.
— Edmund de Waal, The Hare with Amber Eyes
"The Texas-based collector donated her collection of over 3,000 ceramic pieces to Syracuse, New York's Everson Museum of Art with an unusual condition: that the works will be used at the museum's new resturant."
— @eversonmuseum
And that I should probably record... sit at his elbow with a notebook. I never did. It seemed formal and inappropriate. It also seemed greedy: that's a good rich story, I'll have that. Anyway, I liked the way that repetition wears things smooth.
— Edmund de Waal, The Hare with Amber Eyes
Simon indexes, re-creates, photographs, and preserves these centerpieces, linking the grand theatrics of political deal-making and the globalization of world economies to the intricacies of botany and horticulture.
— Taryn Simon wall text for Paperwork and the Will of Capital, Press XI, 2015, Brooklyn Museum