A Quote by John McPhee

With their four-dimensional minds, and in their interdisciplinary ultra verbal way, geologists can wiggle out of almost anything. — © John McPhee
With their four-dimensional minds, and in their interdisciplinary ultra verbal way, geologists can wiggle out of almost anything.
In exorcism, a verbal argument can never do anything. You can't ever beat the entity in a verbal argument because that's what he wants. It's only through a confront, a non-verbal confront, that anything happens. It has to be non-verbal.
I regret that it has been necessary for me in this lecture to administer a large dose of four-dimensional geometry. I do not apologize, because I am really not responsible for the fact that nature in its most fundamental aspect is four-dimensional. Things are what they are.
Since a three-dimensional object casts a two-dimensional shadow, we should be able to imagine the unknown four-dimensional object whose shadow we are. I for my part am fascinated by the search for a one-dimensional object that casts no shadow at all.
If a shadow is a two-dimensional projection of the three-dimensional world, then the three-dimensional world as we know it is the projection of the four-dimensional Universe.
I believe there are talented female rappers out there that aren't one-dimensional. It's OK to be one-dimensional, by the way.
Music seems to stimulate more parts of our mind than almost every other activity. It combines more parts of our minds. It synchronizes our minds. It allows people in groups to do a non-verbal immediate activity together.
Since I found that one could make a case shadow from a three-dimensional thing, any object whatsoever - just as the projecting of the sun on the earth makes two dimensions - I thought that by simple intellectual analogy, the fourth dimension could project an object of three dimensions, or, to put it another way, any three-dimensional object, which we see dispassionately, is a projection of something four-dimensional, something we are not familiar with.
It is impossible to imagine a four-dimensional space. I personally find it hard enough to visualize a three-dimensional space!
It was interesting to have humanoid villains that were rooted in our three-dimensional reality... or four dimensional reality, I'm not sure which!
The last sort I shall mention are verbal critics - mere word-catchers, fellows that pick out a word in a sentence and a sentence in a volume, and tell you it is wrong. The title of Ultra-Crepidarian critics has been given to a variety of this species.
At four o'clock in the morning most people have been asleep for hours, but at four o'clock in the morning the night-club children of a few years ago were just getting hot. The band jazzed at full blast. The air was so thick you could pick it up in handfulls and through it around like snowballs. The dance-floors were crowded with couples who couldn't do anything but wiggle hips and feet.
With Mass Effect we said, "Let's reflect the fact that you can be almost anyone, do almost anything, but..." In our minds, we always felt the character was iconic.
I've gone periods of maybe four months without writing anything, but it's not a problem. It just means something's building inside you, and it'll build and it'll build, and at some point it'll come out, and it does, and it usually comes out in three or four songs, and you play it that way, really.
By the time the child can draw more that scribble, by the age of four or five years, an already well-formed body of conceptual knowledge formulated in language dominates his memory and controls his graphic work. Drawings are graphic accounts of essentially verbal processes. As an essentially verbal education gains control, the child abandons his graphic efforts and relies almost entirely on words. Language has first spoilt drawing and then swallowed it up completely.
Wiggle 'til you're high, wiggle 'til you're higher, wiggle 'til you vomit fire.
You wiggle to the left, you wiggle to the right, you do the Ooby Dooby with all your might.
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