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“From the study of the development of human intelligence, in all directions, and through all times, the discovery arises of a great fundamental law, to which it is necessarily subject, and which has a solid foundation of proof, both in the facts of our organization and in our historical experience. The law is this: that each of our leading conceptions -- each branch of our knowledge -- passes successively through three different theoretical conditions: the theological, or fictitious; the metaphysical, or abstract; and the scientific, or positive. In other words, the human mind, by its nature, employs in its progress three methods of philosophizing, the character of which is essentially different, and even radically opposed: namely, the theological method, the metaphysical, and the positive. Hence arise three philosophies, or general systems of conceptions on the aggregate of phenomena, each of which excludes the others. The first is the necessary point of departure of the human understanding, and the third is its fixed and definitive state. The second is merely a state of transition.”

“The syllogism he had learnt from Kiesewetter's Logic: "Caius is a man, men are mortal, therefore Caius is mortal," had always seemed to him correct as applied to Caius, but certainly not as applied to himself. That Caius—man in the abstract—was mortal, was perfectly correct, but he was not Caius, not an abstract man, but a creature quite, quite separate from all others. He had been little Vanya, with a mamma and a papa, with Mitya and Volodya, with the toys, a coachman and a nurse, afterwards with Katenka and will all the joys, griefs, and delights of childhood, boyhood, and youth. What did Caius know of the smell of that striped leather ball Vanya had been so fond of? Had Caius kissed his mother's hand like that, and did the silk of her dress rustle so for Caius? Had he rioted like that at school when the pastry was bad? Had Caius been in love like that? Could Caius preside at a session as he did? "Caius really was mortal, and it was right for him to die; but for me, little Vanya, Ivan Ilych, with all my thoughts and emotions, it's altogether a different matter. It cannot be that I ought to die. That would be too terrible.”

“We tend to believe things which we can perceive through our senses. Faith as a concept we often hypocritically apply to the satisfaction of our personal desires which we comprehend subjectively. That’s one disadvantage of abstract aspects such as ‘faith’. They are not constant and are defined subjectively, allowing our biases to govern its applicability.”

“In Delirio Familiari by Stewart Stafford He devoured radioactive pizza, eyes bulging to breaking point. Every riddle imploded in a flash, daymare fission without a joint. He, the man of conjured letters; she, his spark that moderates. Janus creature, clockface duo, oddballs, but fitting mates. With dollops of ambrosial agony, in frenzied closeness, but witty, The Brain Surgeon’s Cookbook, A bromide concoction served as ditty. © Stewart Stafford, 2023. All rights reserved.”

“Bunyan points out, for example, how the Pharisees of Jesus’ day no doubt phrased their prayers well but were condemned because they fell short of “pouring out” their hearts to God (IWP, 38). Without help from the Holy Spirit in purifying and pouring out the heart, he writes, one who prays is “hyp- ocritical, cold, and unseemly” and “abominable to God” (IWP, 37). The hypocrisy God detests, then, is importantly not a matter of say- ing one thing and doing another, but of saying one thing and feeling another: of a disjunction between the logocentric intellect and the heart, between the propositional truths of abstract doctrine and the emotions which are substantively to mirror and confirm it.”

“Oh, don't pull your hand away from me, I've promised myself that maybe by the end of this impossible narrative I shall understand, oh maybe it will be on Hell's road that I shall be able to find what we need—but don't pull your hand away, even though I now know that the finding has to come on the road of what we are, if I can succeed in not sinking completely into what we are.”

“It shook me as nothing had shaken me before. I had heard about earthquakes that engulfed thousands, about streams of burning lava that buried villages, about oceans that swallowed up islands. I had read of one million people drowned by the Yellow River, of two million drowned by the Yangtse. I knew that a million soldiers died at Verdun. But these were mere abstractions — numbers, statistics, information. One couldn't suffer for a million. But these three children I knew, I had seen with my own eyes — this was altogether different.”

“I was talking about time. It`s so hard for me to believe in it. Some things go. Pass on. Some things just stay. I used to think it`s just my rememory. You know. Some things you forget. Other things you never do. But it`s not. [...] What I remember is a picture floating around out there outside my head. I mean, even if I don`t think it, even if I die, the picture of what I did, or knew, or saw is still out there. [...] Someday you be walking down the road and you hear something or see something going on. So clear. And you think it`s you thinking it up. A thought picture. But no. It`s when you bump into a rememory that belongs to somebody else.”

“Abstraction, like poetry, does not dictate a clear narrative but rather, quietly offers a fragment, a piece of a mysteriously familiar narrative. In my paintings, there has continued to be a paring down of recognizable natural forms, which now have given way to a personal abstract vocabulary of shapes, colors and forms. The prominent use of abstraction has allowed me to distill and better communicate my emotions and ideas about life, nature and our respective place within it”

“Forgotten Stars. Time in the Flame. Missing Shard. The Only Rain. Door of the Memory. Waves in the Silk. Silent Birch. Thoughts of Lunatics. Secret of the Flowers. Soaring of the Souls. Heart in the Night. And a Kiss Unfolds. Forgotten Voyager. Voyage in the Words. Nothing of the World. Someone of the Hemisphere. Trembling Stones. Sucking Tears. The Next Gift. The World in the Kisses. Missing Angels. The Woman of the Girl. Guardian of the Rings. Thorn in the Pearl. Whispering Sword. Touching exclaim. Soul in the Truth. Heat in the Flame. Thy name, my name, Thy name! Came. Became. To Remain.”

“What we mean, in the last resort, by 'an answer to prayer', is that from the beginning of time, before he set about the building of the worlds, God foreknew every prayer that human lips would breathe, and took it into account. That, and nothing less, is the staggering claim which we make every time we say the 'Our Father'. If I could have collected all the symposiasts in a room, this is the issue I would have put to them, to 'try their spirits'. By all means (I would have said) let us leave dogma on one side, let us take no notice of all the secular disputes which divide the sympathies of Christian people, let us refrain as far as possible from prying into the mysterious secrets, too high for our ken. But- do you believe that God runs the world, and cares what happens in the world? For, if so, you will have to find something better than a pale, pantheist abstraction to satisfy your notion of God. And if not, you may spare your inkstands; nothing you can tell us about your religion will ever strengthen an infirm purpose or heal a broken heart.”

“We have come to understand the phenomena of life only as an assemblage of the lifeless. We take the mechanistic abstractions of our technical calculation to be ultimately concrete and "fundamentally real," while our most intimate experiences are labelled "mere appearance" and something having reality only within the closet of the isolated mind. Suppose however we were to invert this whole scheme, reverse the order in which it assigns abstract and concrete. What is central to our experience, then, need not be peripheral to nature. This sunset now, for example, caught within the network of bare winter branches, seems like a moment of benediction in which the whole of nature collaborates. Why should not these colours and these charging banners of light be as much a part of the universe as the atoms and molecules that make them up? If they were only "in my mind," then I and my mind would no longer be a part of nature. Why should the pulse of life toward beauty and value not be a part of things? Following this path, we do not vainly seek to assemble the living out of configurations of dead stuff, but we descend downwards from more complex to simpler grades of the organic. From humans to trees to rocks; from "higher grade" to "lower grade" organisms. In the universe of energy, any individual thing is a pattern of activity within the flux, and thereby an organism at some level.”

“These estimates may well be enhanced by one from F. Klein (1849-1925), the leading German mathematician of the last quarter of the nineteenth century. 'Mathematics in general is fundamentally the science of self-evident things.' ... If mathematics is indeed the science of self-evident things, mathematicians are a phenomenally stupid lot to waste the tons of good paper they do in proving the fact. Mathematics is abstract and it is hard, and any assertion that it is simple is true only in a severely technical sense—that of the modern postulational method which, as a matter of fact, was exploited by Euclid. The assumptions from which mathematics starts are simple; the rest is not.”

“Reich described the redirection of unmet desires as sublimation, in which natural libidinal urges and raw bodily drives for connection and release transform into abstract spiritual ideals. For him, such ideals suppress rather than liberate.”

“A picture is worth a thousand words, but the way I paint I'm going to need to contact an editor. Even if I were to abstractly paint the phrase "I love you," it would be the visual equivalent of Joyce's Ulysses. -James Lee Schmidt and Jarod Kintz”

“In 2018, Linarejos Moreno, a professor at the Faculty of Fine Arts at the Complutense University of Madrid, held a solo exhibition titled Cloud Chamber, in which she brought together the genius of abstraction with a nuclear physics experiment designed to reveal the decay of subatomic particles. The year 1911 marks both the birth of abstraction in art, through Wassily Kandinsky’s foundational work, and the invention of the cloud chamber by C.T.R. Wilson, which enabled the first visual observations of cosmic rays. Both figures were concerned with the traceability of points and lines on a plane, an investigation that directly inspired Kandinsky’s second major theoretical work, Point and Line to Plane. This unexpected encounter, which subtly suggests that the foundation of reality may not align with the constructs of an abstracted universe distanced from nature, offers a glimpse into the dynamic interplay between mythos and logos. The guiding axiom of our journey under the manifesto of Science and Poetry is the desire to envision new frontiers where the dervishes who wander at the boundaries of Nature and the scientists of our age converge within the cosmic pattern. The irrational ratios of Nature are a manifesto of the geometry of reality. This manifesto is no less significant for the miraculous concord it establishes with poetic narration, the very instrument by which we convey feeling and thought. B. C. C. – On Nature and Against Method, Reflections & Propositions, XXV”