A Quote by Simone de Beauvoir
A life is such a strange object, at one moment translucent, at another utterly opaque, an object I make with my own hands, an object imposed on me, an object for which the world provides the raw material and then steals it from me again, pulverized by events, scattered, broken, scored yet retaining its unity; how heavy it is and how inconsistent: this contradiction breeds many misunderstandings.
Related Quotes
Fear, as opposed to anxiety, has a definite object, which can be faced, analyzed, attacked, endured... anxiety has no object, or rather, in a paradoxical phrase, its object is the negation of every object.
Go to the object. Leave your subjective preoccupation with yourself. Do not impose yourself on the object. Become one with the object. Plunge deep enough into the object to see something like a hidden glimmering there.
Bend color names which should be made of neon or copper tubing. Place an object on a surface - trace the object - then bend the object - leaving some part of it attached.
And so it is with our own past. It is a labour in vain to attempt to recapture it: all the efforts of our intellect must prove futile. The past is hidden somewhere outside the realm, beyond the reach of intellect, in some material object (in the sensation which that material object will give us) of which we have no inkling. And it depends on chance whether or not we come upon this object before we ourselves must die.
A life cycle can be imposed on an object. An object can be very energetic and active, and then it has a dying phase and a phase of decomposition.
Nothing is more maddening than being questioned by the object of one's interest about the object of hers, should that object not be you.
By the artist's seizing any one object from nature, that object no longer is part of nature. One can go so far as to say that theartist creates the object in that very moment by emphasizing its significant, characteristic, and interesting aspects or, rather, by adding the higher values.
The object of terrorism is terrorism. The object of oppression is oppression. The object of torture is torture. The object of murder is murder. The object of power is power. Now do you begin to understand me?
Object in/ and space - the first impulse may be to give the object - a position - to place the object. (The object had a position to begin with.) Next - to change the position of the object. - Rauschenberg's early sculptures - A board with some rocks on it. The rocks can be anywhere on the board. - Cage's Japanese rock garden - The rocks can be anywhere (within the garden).
I keep trying to find ways to shift the viewer's attention away from the object they are looking at and toward their own perceptual process in relation to that object. The question for me always is: how can I make you aware of your own activity of looking, instead of losing your attention to thoughts about what it is that you are looking at?
All knowledge is oriented toward some object and is influenced in its approach by the nature of the object with which it is pre-occupied. But the mode of approach to the object to be known is dependent upon the nature of the knower.
Men are anxious to improve their circumstances, but are unwilling to improve themselves; they therefore remain bound. The man who does not shrink from self-crucifixion can never fail to accomplish the object upon which his heart is set. This is true of earthly as of heavenly things. Even the man whose object is to acquire wealth must be prepared to make great personal sacrifices before he can accomplish his object; and how much more so he who would realize a strong and well-poised life.
An object of art creates a public capable of finding pleasure in its beauty. Production, therefore, not only produces an object for the subject, but also a subject for the object.
I have always recognized that the object of business is to make money in an honorable manner. I have endeavored to remember that the object of life is to do good.
It is necessary that the object that the artist is shaping, whether it be a vase of clay or a fishing boat, be significant of something other than itself. This object must be a sign as well as an object; a meaning must animate it, and make it say more than it is.
The philosopher is in love with truth, that is, not with the changing world of sensation, which is the object of opinion, but with the unchanging reality which is the object of knowledge.
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