Their monuments were not pyramids, which is why they were so hard to find; they were horizontal features. But they're no less extraordinary.
— David Grann, The Lost City of Z: A Tale of Deadly Obsession in the Amazon
When he adjourned the House by rapping the speaker’s gavel with startling force, as if trying to crush a poisonous spider.
— Robert Draper, "More Speaker Crisis Fallout: Pelosi Is Evicted From Bonus Office," The New York Times
All anybody knows of Zeno's Paradoxes is from secondary sources, since either Zeno didn't write anything or it's all been lost.
— David Foster Wallace, Everything and More: A Compact History of Infinity
A biographer wants his story to be not only interesting but literarily valuable.** In order to ensure this, the bio has to make the writer's personal life and psychic travails seem vital to his work. The idea is that we can't correctly interpret a piece of verbal art unless we know the personal and/or psychological circumstances surrounding its creation. That this is simply assumed as an axiom by many biographers is one problem; another is that the approach works a lot better on some writers than on others. It works well on Kafka -- Borges's only modern equal as an allegorist, with whom he's often compared -- because Kafka's fictions are expressionist, projective, and personal; they make artistic sense only as manifestations of Kafka's psyche. But Borges's stories are very different. They are designed primarily as metaphysical arguments+; they are dense, self-enclosed, with their own deviant logics. Above all, they are meant to be impersonal, to transcend individual consciousness -- "to be incorporated," as Borges puts it, "like the fables of Theseus or Ahasuerus, into the general memory of the species and even transcend the fame of their creator or the extinction of the language in which they were written."
— David Foster Wallace, "Borges on the Couch," The New York Times
We get to make our lives up.
— Tamara Johnson
I asked my dad what he was thinking that morning. What he thought was happening with Mom. He told me that he never thought mom could have gotten there before the towers fell. He did the same calculation that I had done. We both had too much faith in New York City traffic to worry about Mom reaching Manhattan in time.
— Colin Jost, A Very Punchable Face: A Memoir
The 4 Modes of Being in The World are:
Autopilot: Reflex + habit
Effectiveness: Prompts us to assess whether our actions align with desired outcomes
Self-Awareness: Involves Introspection to understand our deepest values and aspirations
Self-Transcendence: Encourages us To seek a wholistic vision of a flourishing life + consider Q's as Truth
— Hand written poster in Canterbury School classroom (it might say "Consider Q's of Truth," the poster was far away from window and the photo I took was not perfectly clear)
I love playing dice, so I made some. Now available in sets of six via @diagonal_press, my holder for miscellany and fun.
— @tau_au
Indeed I cannot conceive a more perfect mode of writing any man's life, than not only relating all the most important events of it in their order, but interweaving what be privately wrote, and said, and thought; by which mankind are enabled as it were to see him live, and to “live o'er each scene” with him, as he actually advanced through the several stages of his life. Had his other friends been as diligent and ardent as I was, he might have been almost entirely preserved. As it is, I will venture to say that he will be seen in this work more completely than any man who has ever yet lived.
— James Boswell, The Life of Samuel Johnson
Artist Edward M. Plunkett has argued that communication-as-art-form is an ancient tradition; he posits (tongue in cheek) that mail art began when Cleopatra had herself delivered to Julius Caesar in a rolled-up carpet.
— "Mail art," Wikipedia
By making concessions, a new generation was witnessing her art, she said. If she’d complained about the new doorway for “Imponderabilia,” the performance would only exist as “a stupid gray photo in a book” that no one would ever see.
“Really, the smart thing to do is compromise,” she said.
Abramovic has done this with “Imponderabilia” before: In 2010, for “The Artist is Present,” a career survey at the Museum of Modern Art in New York, Abramovic said that MoMA asked for the performers to stand far enough apart so that a wheelchair user could pass between them. “I felt the piece really suffered for that,” she said.
— Alex Marshall, "Marina Abramovic Relents and Adapts a Provocative Piece for Today," The New York Times
Everything is temporary, the world used to have no oxygen.
— Joyce Lin
But consistency, I remember Gandhi repeating in his autobiography, was the refuge of fools.
— William L. Shirer, Gandhi: A Memoir
There is art on the floor right there.
— MoMA PS1 employee directing visitors to a small video monitor under a hole in the floorboards
Every historian relies on what is unreliable—documents written by people who were not under oath and cannot be cross-examined.
— Jill Lepore, Book of Ages: The Life and Opinions of Jane Franklin
Proof, 2008
If someone stole your photos and copied your profile name the only way to prove you were the real person was to send MySpace a recording of you reading your own user ID number
— @bradtroemel
1000 found photos of anglers holding fish and smoking cigarettes in custom photo album. edition of 25. video of every included image in the second slide.
— @visitordesign
What remains of anyone's life is what's kept.
— Jill Lepore, Book of Ages: The Life and Opinions of Jane Franklin
You don’t become your hero by working for your heroes.
— Charlotte McCurdy
We'll give him a call and pass along your number.
— Guy who works for Grand Bazaar NYC on trying to connect me with Robert Miller, the guy who used to sell stamps (after a follow up, they tell me his number is no longer in service)