William Graham Sumner Quotes

Drafting is not only an art, but there's a degree of science as well.

We should continually be striving to transform every art into a science: in the process, we advance the art.

Not art and science only, but patience will be required for the work.

Both art and science are bent on the understanding of the forces that shape existence, and both call for a dedication to what is. Neither of them can tolerate capricious subjectivity because both are subject to their criteria of truth. Both require precision, order, and discipline because no comprehensible statement can be made without these. Both accept the sensory world as what the Middle Ages called signatura regrum, the signature of things, but in quite different ways.

Science attempts to figure out laws and then uses it later. While the work of art reflects the cosmic order without asking for an explanation

Science has to do with facts, art with phenomena. To science, phenomena are of use only as they lead to facts; and to art, facts are of use only as they lead to phenomena.

I set out to show that there exists single creative activity,which is displayed alike in the arts and in the sciences.It is wrong to think of science as a mechanical record of facts, and it is wrong to think of the arts as remote and private fancies. What makes each human, what makes them universal, is the stamp of the creative mind.

The whole body of the arts and sciences composes one vast machinery for the irritation and development of the human intellect.

Any art that you are playing based on effort, loses something. I think that most of the time it should be something that happens, and you are inspired, and you just feel and follow your instincts. The best chiseled sculptures happen when the sculptor looks at the stone and says "I saw this sculpture in the stone, and I had to get it out." It's not contrived.

Great art is never produced for its own sake. It is too difficult to be worth the effort.

Descartes constructed as noble a road of science, from the point at which he found geometry to that to which he carried it, as Newton himself did after him. ... He carried this spirit of geometry and invention into optics, which under him became a completely new art.

Almost every work of art is an analogy. When I make a representation of something, this too is an analogy to what exists; I make an effort to get a grip on the thing by depicting it. I prefer to steer clear of anything aesthetic, so as not to set obstacles in my own way and not to have the problem of people saying: 'Ah, yes, that's how he sees the world, that's his interpretation.'

To be worthy of the name, an experimenter must be at once theorist and practitioner. While he must completely master the art of establishing experimental facts, which are the materials of science, he must also clearly understand the scientific principles which guide his reasoning through the varied experimental study of natural phenomena. We cannot separate these two things: head and hand. An able hand, without a head to direct it, is a blind tool; the head is powerless without its executive hand.

Chemistry has the same quickening and suggestive influence upon the algebraist as a visit to the Royal Academy, or the old masters may be supposed to have on a Browning or a Tennyson. Indeed it seems to me that an exact homology exists between painting and poetry on the one hand and modem chemistry and modem algebra on the other. In poetry and algebra we have the pure idea elaborated and expressed through the vehicle of language, in painting and chemistry the idea enveloped in matter, depending in part on manual processes and the resources of art for its due manifestation.

Intellect begins with the observation of nature, proceeds to memorize and classify the facts thus observed, and by logical deduction builds up that edifice of knowledge properly called science… But admittedly we also know by feeling, and we can combine the two faculties, and present knowledge in the guise of art.

In science the successors stand upon the shoulders of their predecessors; where one man of supreme genius has invented a method, a thousand lesser men can apply it. ... In art nothing worth doing can be done without genius; in science even a very moderate capacity can contribute to a supreme achievement.

Science needs the intuition and metaphorical power of the arts, and the arts need the fresh blood of science ... Interpretation is the logical channel of consilient explanation between science and the arts. The arts ... also nourish our craving for the mystical.

The art of writing is the art of applying the seat of the pants to the seat of the chair.

Art's greatest efforts are invariably a timid counterfeit of Nature.

What if criticism is a science as well as an art? Not a pure or exact science, of course, but these phrases belong to a nineteenth-century cosmology which is no longer with us.

As struggles go, being an artist isn't that much of one.

The design process, at its best, integrates the aspirations of art, science, and culture.

As a society in turmoil, we are going to see more, and more various, attempts to simulate order through repression; and art is a historical target for such efforts.

Science strives for answers, but art is happy with a good question.