We’re an odd bunch. We love and believe in what we do in spite of the rest of the world telling us it has no worth; we put all our working hours and our non-working hours into making something hardly anyone will appreciate. We do appear to be making a futile attempt to create entire worlds in miniature that even the few who do care to view will only glance at for a second.
Rob Davis, in conversation
The history of culture is in part the story of a protracted struggle for dominance between pictorial and linguistic signs, each claiming for itself certain proprietary rights on a “nature” to which only it has access. At some moments this struggle seems to settle into a relationship for free exchange along open borders; at other times (as in Lessing’s Laocoon) the borders are closed and a separate peace is declared. Among the most interesting and complex versions of this struggle is what might be called the relationship of subversion, in which language or imagery looks into its own heart and finds lurking there its opposite number.
W.J.T. Mitchell, “Image and Word”, Iconology (Chicago and London: 1986) p. 43 
It is not sufficient to have the whole world at one’s disposal - the very infinitude of possibilities cancels out possibilities, as it were, until limitations are discovered.
Roger Sessions, “Problems and Issues Facing the Composer Today”, Problems of Modern Music, Pit Lang (ed), New York: Norton (1962:31). As quoted by Nelson Goodman, Languages of Art, Indianapolis: Hackett (1976:127).