A Quote by Thomas Jefferson
Perseverance in object, though not by the most direct way, is often more laudable than perpetual changes, as often as the object shifts light.
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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.
The question so often asked of modern painting, "What is it?", contains more than the dull skepticism of the man who is not going to have the wool pulled over his eyes. It speaks of a fundamental placement in relation to the work, that of a voyager in the world coming upon a strange object. The reader reconstitutes the work by his active participation, by approaching the object, tapping it, shaking it, holding it to his ear to hear the roaring within. It is characteristic of the object that it does not declare itself all at once, in a rush of pleasant naïveté.
In strategy the longest way round is often the shortest way there- a direct approach to the object exhausts the attacker and hardens the resistance by compression, whereas an indirect approach loosens the defender's hold by upsetting his balance.
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.
Postmodernism shifts the basis of the work of art from the object to the transaction between the spectator and the object and further deconstructs this by negating the presence of a representative objective viewer.
A sneer can often reveal far more about the sneerer than the object of their derision.
All that is limited by form, semblance, sound, color is called object. Among them all, man alone is more than an object. Though, like objects, he has form and semblance, He is not limited to form. He is more. He can attain to formlessness. When he is beyond form and semblance, beyond "this" and "that," where is the comparison with another object? Where is the conflict? What can stand in his way? He will rest in his eternal place which is no-place. He will be hidden in his own unfathomable secret. His nature sinks to its root in the One. His vitality, his power hide in secret Tao.
We know, from ordinary life, that we are not able to direct our attention perfectly steadily and uniformly to one and the same object... At times the attention turns towards the object most intensely, and at times the energy flags.
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.
Life has, indeed, many ills, but the mind that views every object in its most cheering aspect, and every doubtful dispensation as replete with latent good, bears within itself a powerful and perpetual antidote. The gloomy soul aggravates misfortune, while a cheerful smile often dispels those mists that portend a storm.
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.
What you want will pull like a magnet. Here's the other part. What for? Purpose is stronger than object. It's the 'What for?' that's even more powerful than the object. And the more you can describe in detail to stir the emotion and the intellect and the spirit and the soul, then the more powerful the 'what for' is.
First loves are not necessarily more foolish than others; but the chances are certainly against them. Proximity of time or place, a variety of accidental circumstances more than the essential merits of the object, often produce what is called first love.
When it happens that a person has to give up a sexual object, there quite often ensues an alteration of his ego which can only be described as a setting up of the object inside the ego, as it occurs in melancholia; the exact nature of this substitution is as yet unknown to us.
I can only speak for myself but for me imagination and invention cannot generate something more important, more beautiful and more terrifying than the common object, amplified by the attention that we give it. An object alone, in front of me who is alone, exactly in front of me just as I would like to have in front of me someone who really interests me, in a good light to better observe it.
I have rather a strange objection to talking from the back platform of a train.... It changes too often. It moves around and shifts its ground too often. I like a platform that stays put.
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