Top 1200 Objects Quotes & Sayings - Page 2

And first he will see the shadows best, next the reflections of men and other objects in the water, and then the objects themselves, then he will gaze upon the light of the moon and the stars and the spangled heaven...Last of all he will be able to see the sun.

For people who are displaced, you can reconstruct the story of your life from the objects you have access to, but if you don't have the objects then there are holes in your life. This is why people in Bosnia - if anyone was running back into a burning house, it was to salvage photos.

It has long been known to me that certain objects want you as much as you want them. These are the ones that become important, the objects that you hold dear. The others fade from your life entirely. You wanted them, but they did not want you in return.

In order to educate man to a new longing, everyday familiar objects must be shown to him with totally unexpected perspectives and in unexpected situations. New objects should be depicted from different sides in order to provide a complete impression of the object.

For people who are displaced, you can reconstruct the story of your life from the objects you have access to, but if you don't have the objects then there are holes in your life. This is why people in Bosnia - if anyone was running back into a burning house it was to salvage photos.

In studying the action of the Analytical Engine, we find that the peculiar and independent nature of the considerations which in all mathematical analysis belong to operations, as distinguished from the objects operated upon and from the results of the operations performed upon those objects, is very strikingly defined and separated.

When most objects are truly functional, this technological age, which is just beginning, will be truly civilised. When all objects in this country are truly functional, Australia will be as beautiful in its own way as classical Greece.

When the sun is covered by clouds, objects are less conspicuous, because there is little difference between the light and shade of the trees and the buildings being illuminated by the brightness of the atmosphere which surrounds the objects in such a way that the shadows are few, and these few fade away so that their outline is lost in haze.

The house begins to be a home. The unfamiliar places are beginning to fold the familiar objects into their keeping and to cozy them down. Objects that swore at each other when the movers heaved them into the new rooms have subsided into corners and sit to lick their feet and wash their faces like cats accepting a new home.

I'm not a pop artist. For me pop never was.... Pop is concerned with exteriors. I'm concerned with interiors. When I use objects, I see them as a vocabulary of feelings. I can spend a lot of time with objects, and they leave me as satisfied as a good meal. I don't think pop artists feel that way.

For the same reason that the members of the State legislatures will be unlikely to attach themselves sufficiently to national objects, the members of the federal legislature will be likely to attach themselves too much to local objects.

Pinball games were constrained by physical limitations, ultimately by the physical laws that govern the motion of a small metal ball. The video world knows no such bounds. Objects fly, spin, accelerate, change shape and color, disappear and reappear. Their behavior, like the behavior of anything created by a computer program, is limited only by the programmer's imagination. The objects in a video game are representations of objects. And a representation of a ball, unlike a real one, never need obey the laws of gravity unless its programmer wants it to.

We have no other notion of cause and effect, but that of certain objects, which have always conjoin'd together, and which in all past instances have been found inseparable. We cannot penetrate into the reason of the conjunction. We only observe the thing itself, and always find that from the constant conjunction the objects acquire an union in the imagination.

The camera machine cannot evade the objects which are in front of it. When the photographer selects this movement, the light, the objects, he must be true to them. If he includes in his space a strip of grass, it must be felt as the living differentiated thing it is and so recorded. It must take its proper but no less important place as a shape and a texture in relationship to the mountain tree or what not, which are included.

Know that for the human mind there are certain objects of perception which are within the scope of its nature and capacity; on the other hand, there are, amongst things which actually exist, certain objects which the mind can in no way and by no means grasp: the gates of perception are closed against it.

All objects transmit their image to the eye in pyramids and the nearer to the eye these pyramids are intersected the smaller will the image appear of the objects which cause them.

The things that we preceive as beautiful may be different, but the actual characteristics we ascribe to beautiful objects are similar. Think about it. When something strikes us as beautiful, it displays more presence and sharpness of shape and vividness of color, doesn't it? It stands out. It shines. It seems almost iridescent compared to the dullness of other objects less attractive.

I want to create objects that will stimulate the viewer in ways that I am stimulated by these objects. Now that's an ideal situation and the artist has no control over what his audience is going to think, but they can try to communicate some quality, some poetry through the work and just hope that the viewer has something in the vicinity of a similar experience.

Fashion is not a real element of beauty in external objects; and to persons who possess a good endowment of Form, Constructiveness and Ideality, intrinsic elegance is much more pleasing and permanently agreeable, than forms of less merit, recommended merely by being new. Hence there is a beauty which never palls, and there are objects over which fashion exercises no control.

I sometimes am challenged to imagine where the timbre of art should be. Should it be about objects that point to this current moment, or how objects are related to ideas of this current moment?

If they are not an advanced race from the future, are we dealing instead with a parallel universe, another dimension where there are other human races living, and where we may go at our expense, never to return to the present? From that mysterious universe, are higher beings projecting objects that can materialize and dematerialize at will? Are UFOS "windows" rather than "objects"?

The phenomenon is something real and not visionary or fictitious. There are objects approximating the shape of a disc, some of which appear flat on bottom and domed on top. These objects are as large as man-made aircraft and have a metallic or light-reflecting surface. Further they exhibit extreme rates of climb and maneuverability with no associated sound and take action which must be considered evasive when contacted by aircraft and radar.

The objects in our system are instead a help to the child himself, he chooses what he wants for his own use, and works with it according to his own needs, tendencies and special interests. In this way, the objects become a means of growth.

Physical objects are conceptually imported into the situation as convenient intermediaries not by definition in terms of experience, but simply as irreducible posits comparable, epistemologically, to the gods of Homer . . . For my part I do, qua lay physicist, believe in physical objects and not in Homer's gods; and I consider it a scientific error to believe otherwise. But in point of epistemological footing, the physical objects and the gods differ only in degree and not in kind. Both sorts of entities enter our conceptions only as cultural posits.

We need to empower all women, both financially and socially, to give them the tools to support themselves and their families. We need to start seeing them as contributors to society, as assets, not as objects of pity or, even worse, objects of shame.

The objects that are of moderate energy, like our sun or most of the stars that we see in the night sky with the naked eye, are objects in which relatively moderate energy processes are taking place.

There are three aspects to perspective. The first has to do with how the size of objects seems to diminish according to distance: the second, the manner in which colors change the farther away they are from the eye; the third defines how objects ought to be finished less carefully the farther away they are.

I grew up in a time when Eames and Le Corbusier and Frank Lloyd Wright and other architects were putting their furniture and objects on the market. You could buy some of those objects on the open market. Eames was a huge influence on all of us in school.

Communists have always played an active role in the fight by colonial countries for their freedom, because the short-term objects of Communism would always correspond with the long-term objects of freedom movements.

All these stupendous objects are daily around us; but because they are constantly exposed to our view, they never affect our minds, so natural is it for us to admire new, rather than grand objects. Therefore the vast multitude of stars which diversify the beauty of this immense body does not call the people together; but when any change happens therein, the eyes of all are fixed upon the heavens.

Satellite datasets like WorldView can see objects as small as 1.5 feet in diameter. In 2014, WorldView-3 will be able to see objects a small as a foot.

We need objects to remind us of the commitments we've made. That carpet from Morocco reminds us of the impulsive, freedom-loving side of ourselves we're in danger of losing touch with. Beautiful furniture gives us something to live up to. All designed objects are propaganda for a way of life.

Like most North Americans of his generation, Hal tends to know way less about why he feels certain ways about the objects and pursuits he's devoted to than he does about the objects and pursuits themselves. It's hard to say for sure whether this is even exceptionally bad, this tendency.

Inanimate objects are always correct and cannot, unfortunately, be reproached with anything. I have never observed a chair shift from one foot to another, or a bed rear on its hind legs. And tables, even when they are tired, will not dare to bend their knees. I suspect that objects do this from pedagogical considerations, to reprove us constantly for our instability.

The vitrines and shelves that I make, the objects displayed can be easily exchanged. This is a key to the work-the objects are mere signs of capitalism. The reason for their existence is in anticipation of their own destruction. They are meant to trigger a resemblance to the way store windows appear just before they are smashed by demonstrators. They represent targets for potential violence.

I don’t think there’s any such thing as male objectification…I think that word exists only with women because there are societal pressures for them to behave a certain way and to look a certain way. Someone put it to me once: Women are sex objects and men are success objects. That was really interesting to me.

While just looking, we are always hunting among objects, looking for what we desire or fear, endeavoring to recognize some pattern; on the other hand, objects themselves always "stare back," vie for our attention, throw at us their lures and endeavor to entrap us.

In general, the objects in the universe that are very high-energy objects, or the processes that are high-energy processes, will radiate more in the short wavelength range towards the gamma rays or the x-rays.

Paradoxically, capital has unleashed myriad objects upon us, in their manifold horror and sparkling splendor. Two hundred years of idealism, two hundred years of seeing humans at the center of existence, and now the objects take revenge, terrifyingly huge, ancient, long-lived, threateningly minute, invading every cell in our body.

There are unidentified flying objects. That is, there are a hard core of cases-perhaps 20 to 30 percent in different studies-for which there is no explanation. We can only imagine what purpose lies behind the activities of these quiet, harmlessly cruising objects that time and again approach the Earth. The most likely explanation, it seems to me, is that they are simply watching what we are up to

It is time for the truth to be brought out... Behind the scenes, high-ranking Air Force officers are soberly concerned about the UFOs. But through official secrecy and ridicule, many citizens are led to believe the unknown flying objects are nonsense... I urge immediate Congressional action to reduce the dangers from secrecy about Unidentified Flying Objects

The identifying personal association with objects, which are not personal, is an important modern experience - our real association, the strands of our feelings about the objects that surround us. It's also because they are so familiar, we don't think of them as important in the world, but actually they are the world. We are living in a very material world.

A thought has no size in the physical sense but is vast as compared to the physical acts and objects into which it is later precipitated. The power of a thought is enormous and superior to all the successive physical acts, objects, and events that body forth its energy. A thought often endures for a time much greater than the whole life of the man who thought it.

Many painters had a clear idea of what fractals are. Take a French classic painter named Poussin. Now, he painted beautiful landscapes, completely artificial ones, imaginary landscapes. And how did he choose them? Well, he had the balance of trees, of lawns, of houses in the distance. He had a balance of small objects, big objects, big trees in front and his balance of objects at every scale is what gives to Poussin a special feeling.

Objects close to the eye shut out much larger objects on the horizon; and splendors born only of the earth eclipse the stars. So a man sometimes covers up the entire disk of eternity with a dollar, and quenches transcendent glories with a little shining dust.

That is the great distinction between the sexes. Men see objects, women see the relationships between objects.

The first step in wisdom is to know the things themselves; this notion consists in having a true idea of the objects; objects are distinguished and known by classifying them methodically and giving them appropriate names. Therefore, classification and name-giving will be the foundation of our science.

Macroscopic objects, as we see them all around us, are governed by a variety of forces, derived from a variety of approximations to a variety of physical theories. In contrast, the only elements in the construction of black holes are our basic concepts of space and time. They are, thus, almost by definition, the most perfect macroscopic objects there are in the universe.

The secondary Imagination I consider as an echo of the former, co-existing with the conscious will, yet still as identical with the primary in the kind of its agency, and differing only in degree, and in the mode of its operation. It dissolves, diffuses, dissipates, in order to recreate: or where this process is rendered impossible, yet still at all events it struggles to idealize and to unify. It is essentially vital, even as all objects (as objects) are essentially fixed and dead.

Hubble wasn't designed to look at objects in our solar system, but after it was launched, astronomers realized that with just a little bit of modification to the software, it could look at solar system objects.

There is a quality of murky grandeur we give ourselves in having our own feelings, recoiling, separate from other things... To feel that we can care for ourselves without seeing our feelings as objects, and liking them as objects, is to be wrong about our care for ourselves.

For example, John Law's Mississippi Company venture printed shares, and the money had gone up in smoke when it had been inscribed objects. The inscription made it magic and changed its meaning. That's how objects become charmed in The Arabian Nights, and they are often originally ordinary objects. The carpet is an ordinary, paltry object. The lamp is a rusty old lamp, and the bottles jinns are imprisoned within are old bottles. They are changed by the magic and the jinn's presence, and the jinn's presence is often embodied in the seal or inscription.

The divisions of Perspective are 3, as used in drawing; of these, the first includes the diminution in size of opaque objects; the second treats of the diminution and loss of outline in such opaque objects; the third, of the diminution and loss of colour at long distances.

I've found that all weak people share a basic obsession - they fixate on the idea of satisfaction. Anywhere you go men and women are like crows drawn by shiny objects. For some folks, the shiny objects are other people, and you'd be better off developing a drug habit.

Love is the experience that others are not others. Beauty is the experience that objects are not objects.

Objects obey quantum laws- they spread in possibility following the equation discovered by Erwin Schodinger- but the equation is not codified within the objects. Likewise, appropriate non-linear equations govern the dynamical response of bodies that have gone through the conditioning of quantum memory, although this memory is not recorded in them. Whereas classical memory is recorded in objects like a tape, quantum memory is truly the analog of what the ancients call Akashic memory, memory written in Akasha, Emptiness- nowhere.

Some paradox of our natures leads us, when once we have made our fellow men the objects of our enlightened interest, to go on to make them the objects of our pity , then of our wisdom , ultimately of our coercion.

It's better to work with a nice category containing some nasty objects, than a nasty category containing only nice objects.

That is the great distinction between the sexes. Men see objects, women seetherelationship between objects? It is an extra dimension of feeling which we men are without and one that makes war abhorrent to all real women?and absurd.

There's a definite connection in terms of objects at hand - dealing with objects or material at hand. Pop art was very much enamored with popular imagery, and popular imagery was of course available and at hand. And land art was also using what was at hand.