Top 1200 Objects Quotes & Sayings - Page 3

The mathematics clearly called for a set of underlying elementary objects-at that time we needed three types of them-elementary objects that could be combined three at a time in different ways to make all the heavy particles we knew. ... I needed a name for them and called them quarks, after the taunting cry of the gulls, "Three quarks for Muster mark," from Finnegan's Wake by the Irish writer James Joyce.

His [Henry Cavendish's] Theory of the Universe seems to have been, that it consisted solely of a multitude of objects which could be weighed, numbered, and measured; and the vocation to which he considered himself called was, to weigh, number and measure as many of those objects as his allotted three-score years and ten would permit. This conviction biased all his doings, alike his great scientific enterprises, and the petty details of his daily life.

In a sense, Open City is a kind of Wunderkammer, one of those little rooms assembled with bric-a-brac by Renaissance scholars. I don't mean it as a term of praise: these cabinets of curiousities contained specific sorts of objects - maps, skulls (as memento mori), works of art, stuffed animals, natural history samples, and books - and Open City actually contains many of the same sort of objects. So, I don't think it's as simple as literary inclusiveness.

Inanimate objects can be classified scientifically into three major categories: those that don't work, those that break down and those that get lost. The goal of all inanimate objects is to resist man and ultimately to defeat him, and the three major classifications are based on the method each object uses to achieve its purpose. As a general rule, any object capable of breaking down at the moment when it is most needed will do so.

Being a sculptor who uses found objects, all the objects I use in my work have been designed by other people. So I'm tweaking them in some way by squashing them or throwing them off cliffs! Then I formalise my damage by suspending them or arranging them in some kind of way. So I'm using other people's design in a way, so I'm an 'un-maker.'

Thwarted, or starved, in the important objects proper to young capacities, the boys and young men naturally find or invent deviant objects for themselves. ... Their choices and inventions are rarely charming, usually stupid, and often disastrous; we cannot expect average kids to deviate with genius. But on the other hand, the young men who conform to the dominant society become for the most part apathetic, disappointed, cynical and wasted.

I've always been fond of the idea expressed in Buddhist art, that there are certain objects that, just by seeing them, can plant a seed for liberation in the individual. That class of objects is called "liberation through seeing." Certain Buddha images are like that, but if it were possible, I would like to find contemporary non-traditional sacred images. Maybe it sounds pretentious, but most spiritual paths point to the possibility that we all can access the deep, absolute dimensions of reality.

All photographs are about light. The great majority of photographs record light as a way of describing objects in space. A few photographs are less about objects and more about the space that contains them. Still fewer photographs are about light itself.

I like poor materials. I couldn't see myself making a bronze sculpture - it's not me. I like neon, because it's moving constantly and like drawing. The chemicals going through the neon turns me on really - it's sexy. I like fabrics, but one of the main things with objects is that I really have to love them before I can use them. I have to have the object around me a long time. The little chairs I used in my last White Cube show are ones that my dad bought for me. A sort of a psychometry with objects and things. It's like the pieces I've made are my things.

I agree that science is the best way of understanding the natural world, and therefore that we have reason to believe what the best science tells us about the objects in that world and the relations between them. But this does not mean that the natural world is the only thing we can have true beliefs about. The status of material objects as things that are "real" is a matter of their having physical properties, such as weight, solidity, and spatio-temporal location. In order to be real, such things need not have, in addition to these properties, some further kind of metaphysical existence.

Silence and stillness are not states and therefore cannot be produced or created. Silence is the non-state in which all states arise and subside. Silence, stillness and awareness are not states and can never be perceived in their totality as objects. Silence is itself the eternal witness without form or attributes. As you rest more profoundly as the witness, all objects take on their natural functionality, and awareness becomes free of the mind's compulsive contractions and identifications. It returns to its natural non-state of Presence.

Part of the people here are interested in the same thing that Putin is interested in: Putin wants to have America as an enemy. Part of Americans want to have Russia as an enemy. It's advantageous. The other part of the people are just ordinary people. And these people project onto big objects the kind of relations that they have with small objects in their everyday lives.

In a sense, every tool is a machine--the hammer, the ax, and the chisel. And every machine is a tool. The real distinction is between one man using a tool with his hands and producing an object that shows at every stage the direction of his will and the impression of his personality; and a machine which is producing, without the intervention of a particular man, objects of a uniformity and precision that show no individual variation and have no personal charm. The problem is to decide whether the objects of machine production can possess the essential qualities of art.

All objects exist in a moment of time.

Objects damage pictures.

Ego is the movement of the mind toward objects of perception in the form of grasping, and away from objects in the form of aversion. This fundamentally is all the ego is. This movement of grasping and aversion gives rise to a sense of a separate 'me,' and in turn the sense of 'me' strengthens itself this way.

Then they grow away from the earth then they grow away from the sun then they grow away from the plants and the animals. They see no life. When they look they see only objects. The world is a dead thing for them the trees and the rivers are not alive. the mountains and stones are not alive. The deer and bear are objects. They see no life. They fear. They fear the world. They destroy what they fear. They fear themselves.

Do not underestimate objects.

We have persistent objects, they're called files.

Man never ceases to seek knowledge about the objects of his experiences, to understand their meaning for his existence and to react to them according to his understanding. Finally, out of the sum total of the meanings that he has deduced from his contacts with numerous single objects of his environment there grows a unified view of the world into which he finds himself "thrown" (to use an existentialist term again) and this view is of the third order.

As you are aware, no perceptions obtained by the senses are merely sensations impressed on our nervous systems. A peculiar intellectual activity is required to pass from a nervous sensation to the conception of an external object, which the sensation has aroused. The sensations of our nerves of sense are mere symbols indicating certain external objects, and it is usually only after considerable practice that we acquire the power of drawing correct conclusions from our sensations respecting the corresponding objects.

Objects are made to be completed by the human mind.

The meditation I am talking about is not a meditation on something. If you light a lamp and remove all the objects surrounding it, the lamp will still go on giving light. In the same way, if you remove all objects from your consciousness, all thoughts, all imagination, what will happen? – only consciousness will remain.

There is nothing more terrible, I learned, than having to face the objects of a dead man. Things are inert: that have meaning only in function of the life that makes use of them. When that life ends, the things change, even though they remain the same. […] they say something to us, standing there not as objects but as remnants of thought, of consciousness, emblems of the solitude in which a man comes to make decisions about himself.

The constitution of the United States is to receive a reasonable interpretation of its language, and its powers, keeping in view the objects and purposes, for which those powers were conferred. By a reasonable interpretation, we mean, that in case the words are susceptible of two different senses, the one strict, the other more enlarged, that should be adopted, which is most consonant with the apparent objects and intent of the Constitution.

Is it really that much better to make friends with animals before you kill them than to treat them as nameless, faceless objects before you kill them? From a yogic point of view, one must weigh the karmic consequences of perceiving others as mere objects to be used and the consequences of profiting from the suffering of others.

We hypostatize information into objects. Rearrangement of objects is change in the content of the information; the message has changed. This is a language which we have lost the ability to read. We ourselves are a part of this language; changes in us are changes in the content of the information. We ourselves are information-rich; information enters us, is processed and is then projected outward once more, now in an altered form. We are not aware that we are doing this, that in fact this is all we are doing.

I think of consciousness as a bottomless lake, whose waters seem transparent, yet into which we can clearly see but a little way.But in this water there are countless objects at different depths; and certain influences will give certain kinds of those objects an upward influence which may be intense enough and continue long enough to bring them into the upper visible layer. After the impulse ceases they commence to sink downwards.

I have always directed my attempts at the figurative representation of objects by way of summary and not very descriptive brushstrokes, diverging greatly from the real objective measurements of things, and this has led many people to talk about childish drawing.. ..this position of seeing them (the objects) without looking at them too much, without focussing more attention on them than any ordinary man would in normal everyday life..

I believe inanimate objects have a spirit.

I earnestly wish to point out in what true dignity and human happiness consists. I wish to persuade women to endeavor to acquire strength, both of mind and body, and to convince them that the soft phrases, susceptibility of heart, delicacy of sentiment, and refinement of taste, are almost synonymous with epithets of weakness, and that those beings are only the objects of pity, and that kind of love which has been termed its sister, will soon become objects of contempt.

The powers delegated by the proposed Constitution to the federal government are few and defined. Those which are to remain in the State governments are numerous and indefinite. The former will be exercised principally on external objects, as war, peace, negotiation and foreign commerce. ... The powers reserved to the several States will extend to all the objects which in the ordinary course of affairs, concern the lives and liberties, and properties of the people, and the internal order, improvement and prosperity of the State.

There are no inanimate objects.

I'm against suppression of pornography. If you suppress guns - yes; if you want to suppress poverty - yes. These are the obscenities, the real brutalization of people. I am almost more outraged by ads for blue jeans or cars that sort of blatantly depict women not only as sex objects, but women that look younger than the age of consent, looking like they've just been raped or asking to be raped-utterly passive sex objects.

Without perceiving things through the old filter of past conditioning and conceptualization, one can sense the universe is intensely alive. Even so-called inanimate objects - I often pick up little objects and just look at them and sense that they are alive. Physicists actually confirm that what we perceive as dead matter is not dead at all. Everything is an intensely alive energy field. That aliveness is only an aspect of the aliveness or life that I am.

The mind is a metaphor of the world of objects.

One of the most destructive forces in the world is love. For the following reason: The world is a conglomeration of objects, no, of events and the approachings of events towards objects, therefore of becoming stases static stagnant, of all that is unreal. You get in the world, you get your daily life your routine doesn’t matter if you’re rich poor legal illegal, you begin to believe what doesn’t change is real, and love comes along and shows all these unchangeable for ever fixtures to be flimsy paper bits. Love can tear anything to shreds.

The strategy of semantic ascent is that it carries the discussion into a domain where both parties are better agreed on the objects (viz., words) and on the main terms connecting them. Words, or their inscriptions, unlike points, miles, classes and the rest, are tangible objects of the size so popular in the marketplace, where men of unlike conceptual schemes communicate at their best. The strategy is one of ascending to a common part of two fundamentally disparate conceptual schemes, the better to discuss the disparate foundations. No wonder it helps in philosophy.

Objects of charity are not guests.

Psycho-analysis has taught us that a boy's earliest choice of objects for his love is incestuous and that those objects are forbidden ones - his mother and his sister. We have learnt, too, the manner in which, as he grows up, he liberates himself from this incestuous attraction. A neurotic, on the other hand, invariably exhibits some degree of psychical infantilism. He has either failed to get free from the psychosexual conditions that prevailed in his childhood or he has returned to them - two possibilities which may be summed up as developmental inhibition and regression.

To restore silence is the role of objects.

Our initial sensory data are always "first derivatives," statements about differences which exist among external objects or statements about changes which occur either in them or in our relationship to them. Objects and circumstances which remain absolutely constant relative to the observer, unchanged either by his own movement or by external events, are in general difficult and perhaps always impossible to perceive. What we perceive easily is difference and change and difference is a relationship.

We have persistant objects, they're called files.

The objects you decide to keep, the ones that gave you the spark of joy? Treasure them from now on. When you put things away, you can actually audibly say, 'Hey, thank you for the good work today...' By doing so, it becomes easier for you to put the objects away and treasure them, which prolongs the spark of joy environment.

Perception without the perceiver in meditation is to commune with the height and depth of the immense. This perception is entirely different from seeing an object without an observer, because in the perception of meditation there is no object and therefore no experience. can, however, take place when the eyes are open and one is surrounded by objects of every kind. But then these objects have no importance at all. One sees them but there is no process of recognition, which means there is no experiencing.

In old times men used their powers of painting to show the objects of faith, in later times they use the objects of faith to show their powers of painting.

Since man does not create physical matter, those who handle material objects in the production process are not producers in that sense. Economic benefits result from the transformation of matter in form, location, or availability (intellectually or temporally). It is these transformations that create economic benefits valued by consumers, and whoever arranges such transformations contributes to the value of things, whether his hands actually come into contact with physical objects or not.

I don't fetishize objects.

Holding onto and manipulating physical objects is one of the things we learn earliest and do the most. It should not be surprising that object control is the basis of one of the five most fundamental metaphors for our inner life. To control objects, we must learn to control our bodies. We learn both forms of control together. Self-control and object control are inseparable experiences from earliest childhood. It is no surprise that we should have as a metaphor-a primary metaphor-Self Control is Object Control.

For more than 50 years, men and women around the world have reported sights in the sky that are strange to their experience and understanding. Inasmuch as many of these sights appeared to be solid objects having impressive performance, they have become known as Unidentified Flying Objects (UFOs) or, colloquially, flying saucers. Their positive identification is one of the major public scientific challenges of the era, with a significant number of these sights so far defying all reasonable efforts at classification.

According to the technical language of old writers, a thing and its qualities are described as subject and attributes; and thus a man's faculties and acts are attributes of which he is the subject. The mind is the subject in which ideas inhere. Moreover, the man's faculties and acts are employed upon external objects; and from objects all his sensations arise. Hence the part of a man's knowledge which belongs to his own mind, is subjective: that which flows in upon him from the world external to him, is objective.

There's one uneasy borderline between what is external and what is internal, and this borderline is defined exactly by the sense organs and the skin and the introduction of external things within my own body. Consciousness is altered by physical events and physical objects, which impinge upon my sense organs, or which I introduce into my body. Now the name traditionally given to external objects or processes which change you internally is sacrament. Sacraments are the visible and tangible techniques for bringing you close to your own divinity.

On our planet, all objects are subject to continual and inevitable changes which arise from the essential order of things. These changes take place at a variable rate according to the nature, condition, or situation of the objects involved, but are nevertheless accomplished within a certain period of time. Time is insignificant and never a difficulty for Nature. It is always at her disposal and represents an unlimited power with which she accomplishes her greatest and smallest tasks.

True, absolute silence and true, absolute love are not different. Absolute silent awareness overflows with simple, fulfilled absolute love. Objects - people, nature, emotions - may or may not appear. Objects are not needed and they are welcomed. The joy of this full silence is uncaused and unlimited. Always here, always discovering itself. It is the treasure, and it is hidden only when we refuse to keep quiet and find out who we are.

Dangerous objects are glamorous places to be.

Objects exist and if one pays more attention to them than to people, it is precisely because they exist more than the people. Dead objects are still alive. Living people are often already dead.

Just as the introduction of the irrational numbers ... is a convenient myth [which] simplifies the laws of arithmetic ... so physical objects are postulated entities which round out and simplify our account of the flux of existence... The conceptional scheme of physical objects is [likewise] a convenient myth, simpler than the literal truth and yet containing that literal truth as a scattered part.

I have a very promiscuous relationship with all my objects.

In the late 70's I started to make drawings of the ordinary objects I had been using in my work. Initially I wanted them to be ready-made drawings of the kind of common objects I had always used in my work. I was surprised to discover I couldn't find the simple, neutral drawings I had assumed existed, so I started to make them myself.

Men are objects to me.