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The intellectual abstraction of the second (analytical, fh) period of Cubism was of great importance, however. By its aspirations to the eternal and its "concept of proportion inspired by the Classics" it revived the sense of craftsmanship concept in many painters. And this perfectly coincided with another of my ambitions – which was to make, with paint, an object having the same perfection of craftsmanship that a cabinet-maker would put into a piece of furniture.
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as quoted in Letters of the great artists, Richard Friedenthal, Thames and Hudson , London, 1963, p. 248 (translation Daphne Woodward)

 

Gino Severini

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Art itself cannot be taught, but craftsmanship can. Architects, painters, sculptors are all craftsmen in the original sense of the word. Thus it is a fundamental requirement of all artistic creativity that every student undergo a thorough training in the workshops of all branches of the crafts.

 

Walter Gropius

 

"I am very much interested in the so-called useless object. I mean, it takes perfect craftsmanship, beautiful material carefully measured and crafted, but at the same time it’s really useless."

 

Ai Weiwei

 

You win the presidency by connecting with the American people's gut insecurities and aspirations. You win with a concept. The concept I'd argue for is "neoliberalism." More Americans today are natural neolibs, than neocons. Neoliberals believe in a muscular foreign policy and a credible defense budget, but also a prudent fiscal policy that balances taxes, deficit reduction and government services.

 

Thomas L. Friedman

 

I discovered that what's really important for a creator isn't what we vaguely define as inspiration or even what it is we want to say, recall, regret, or rebel against. No, what's important is the way we say it. Art is all about craftsmanship. Others can interpret craftsmanship as style if they wish. Style is what unites memory or recollection, ideology, sentiment, nostalgia, presentiment, to the way we express all that. It's not what we say but how we say it that matters.

 

Federico Fellini

 

The "concept" of the One is not, properly speaking, a concept at all, since it is never explicitly defined by Plotinus, yet it is nevertheless the foundation and grandest expression of his philosophy. Plotinus does make it clear that no words can do justice to the power of the One; even the name, "the One," is inadequate, for naming already implies discursive knowledge, and since discursive knowledge divides or separates its objects in order to make them intelligible, the One cannot be known through the process of discursive reasoning (Ennead VI.9.4). Knowledge of the One is achieved through the experience of its "power" (dunamis) and its nature, which is to provide a "foundation" (arkhe) and location (topos) for all existents (VI.9.6). The "power" of the One is not a power in the sense of physical or even mental action; the power of the One, as Plotinus speaks of it, is to be understood as the only adequate description of the "manifestation" of a supreme principle that, by its very nature, transcends all predication and discursive understanding.

 

Plotinus