A Quote by Walter Houser Brattain

I would like to start by emphasizing the importance of surfaces. It is at a surface where many of our most interesting and useful phenomena occur. We live for example on the surface of a planet. It is at a surface where the catalysis of chemical reactions occur. It is essentially at a surface of a plant that sunlight is converted to a sugar. In electronics, most if not all active circuit elements involve non-equilibrium phenomena occurring at surfaces. Much of biology is concerned with reactions at a surface.
You can't get at the thing itself, the real nature of the sitter, by stripping away the surface. You can only get beyond the surface by working with the surface. All that you can do is manipulate that surface - gesture, costume, expression - radically and correctly.
People don't understand that the feel of the surface is so important for a footballer. The ball travels on the surface; our feet move on the surface - all of that goes into how the game is actually played.
My photographs don't go below the surface. They don't go below anything. They're readings of the surface. I have great faith in surfaces. A good one is full of clues.
So many of the chemical reactions occurring in living systems have been shown to be catalytic processes occurring isothermally on the surface of specific proteins, referred to as enzymes, that it seems fairly safe to assume that all are of this nature and that the proteins are the necessary basis for carrying out the processes that we call life.
The cell, too, has a geography, and its reactions occur in colloidal apparatus, of which the form, and the catalytic activity of its manifold surfaces, must efficiently contribute to the due guidance of chemical reactions.
The usual metric for whether a planet is habitable or not is to ascertain whether liquid water could exist on its surface. Most worlds will either be too cold, too hot or of a type (like Jupiter) that may have no solid surface and be swaddled in noxious gases.
I think one thing with Sweden is that in some way the Swedish society is a very good society, almost perfect on the surface. That is something that makes the writers forced to see what is underneath the surface, because it's always something underneath the surface, of course.
As an actor, what's interesting is what's hidden away beneath the surface. You want to be like a duck on a pond - very calm on the surface but paddling away like crazy underneath.
Genres are like the surface of the ocean. There are waves and things moving, but you don't instantly see all the reefs and ecosystems that's happening beneath the surface.
It has been tough to get used to hard surfaces and adjust my game - I grew up in the Netherlands playing on clay, so I love that surface the most. For my game, it is the most natural.
My photographs don't go below the surface. They don't go below anything. They're readings of the surface. I have great faith in surfaces. A good one is full of clues. But whenever I become absorbed in the beauty of a face, in the excellence of a single feature, I feel I've lost what's really there been seduced by someone else's standard of beauty or by the sitter's own idea of the best in him. That's not usually the best. So each sitting becomes a contest.
Like a stone on the surface of a still river Driving the ripples on forever Redemption rips through the surface of time In the cry of a tiny babe.
But my vote for Venus's most peculiar feature is the presence of craters that are all relatively young and uniformly distributed over its surface. This innocuous-sounding feature implicates a single planetwide catastrophe that reset the cratering clock... turning Venus's entire surface into the American automotive dream-a totally paved planet.
All art is at once surface and symbol. Those who go beneath the surface do so at their peril.
Two-thirds of earth's surface is ocean, and all we can see with the naked eye is the surface.
There's almost no gravity at the surface. If you were standing on [the surface], you could jump into orbit.
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