Preoccupy Quotes (4 quotes)
Can one think that because we are engineers, beauty does not preoccupy us or that we do not try to build beautiful, as well as solid and long lasting structures? Aren’t the genuine functions of strength always in keeping with unwritten conditions of harmony? … Besides, there is an attraction, a special charm in the colossal to which ordinary theories of art do not apply.
As translated in Henry Petroski, Remaking the World: Adventures in Engineering (1998), 173. From the original French in interview of Eiffel by Paul Bourde, in the newspaper Le Temps (14 Feb 1887). Quoted in 'Au Jour le Jour: Les Artistes Contre la Tour Eiffel', Gazette Anecdotique, Littéraire, Artistique et Bibliographique (Feb 1887), 126, and in Gustave Eiffel, Travaux Scientifiques Exécutés à la Tour de 300 Mètres de 1889 à 1900 (1900), 14. “Parce que nous sommes des ingénieurs, croit-on donc que la beauté ne nous préoccupe pas dans nos constructions et qu'en même temps que nous faisons solide et durable nous ne nous efforçons pas rletfaire élégant? Est-ce que les véritables conditions de la force ne sont pas toujours conformes aux conditions secrètes de l'harmonie?.… Il y a du reste dans le colossal une attraction, un charme propre auxquels les théories d'art ordinaires ne sont guère applicables.
In my opinion a mathematician, in so far as he is a mathematician, need not preoccupy himself with philosophy—an opinion, moreover, which has been expressed by many philosophers.
In George Edward Martin, The Foundations of Geometry and the Non-Euclidean Plane (1982), 19.
It is worthy the observing, that there is no passion in the mind of man, so weak, but it mates, and masters, the fear of death; and therefore, death is no such terrible enemy, when a man hath so many attendants about him, that can win the combat of him. Revenge triumphs over death; love slights it; honor aspireth to it; grief flieth to it; fear preoccupieth it.
In 'Of Death', Essays (1625, 1883), 10.
The new painters do not propose, any more than did their predecessors, to be geometers. But it may be said that geometry is to the plastic arts what grammar is to the art of the writer. Today, scholars no longer limit themselves to the three dimensions of Euclid. The painters have been lead quite naturally, one might say by intuition, to preoccupy themselves with the new possibilities of spatial measurement which, in the language of the modern studios, are designated by the term fourth dimension.
The Cubist Painters: Aesthetic Meditations (1913) translated by Lionel Abel (1970), 13. Quoted in Michele Emmer, The Visual Mind II (2005), 352.