Quotessence
Home / Topics / Materials Quotes

Materials Quotes

Browse 4243 quotes about Materials.

Related topics

Materials Quotes

“All material Things seem to have been composed of the hard and solid Particles ... variously associated with the first Creation by the Counsel of an intelligent Agent. For it became him who created them to set them in order: and if he did so, it is unphilosophical to seek for any other Origin of the World, or to pretend that it might arise out of a Chaos by the mere Laws of Nature.”

“We who are rich are often demanding and difficult. We shut ourselves up in our apartments and may even use a watchdog to defend our property. Poor people, of course, have nothing to defend and often share the little they have. When people have all the material things they need, they seem not to need each other. They are self-sufficient. There is no interdependence. There is no love.”

“Based on first-hand evidence of your own senses - the improved health and later ages at which acquaintances die nowadays as compared with the past; the material goods that we now possess; the speed at which information, entertainment, and we ourselves move freely throughout the world - it seems to me that a person must be literally deaf and blind not to perceive that humanity is in a much better state than ever before.”

“One is constantly reminded of the infinite lavishness and fertility of Nature-inexhaustible abundance amid what seems enormous waste. And yet when we look into any of her operations that lie within reach of our minds, we learn that no particle of her material is wasted or worn out. It is eternally flowing from use to use, beauty to yet higher beauty; and we soon cease to lament waste and death, and rather rejoice and exult in the imperishable, unspendable wealth of the universe.”

“People have had to make up for their spiritual impoverishment by accumulating material things. When spiritual blessings come, material blessings seem unimportant. As long as we desire material things this is all we receive, and we remain spiritually impoverished.”

“Fiction is like a spider's web, attached ever so lightly perhaps, but still attached to life at all four corners. Often the attachment is scarcely perceptible; Shakespeare's plays, for instance, seem to hang there complete by themselves. But when the web is pulled askew, hooked up at the edge, torn in the middle, one remembers that these webs are not spun in midair by incorporeal creatures, but are the work of suffering human beings, and are attached to the grossly material things, like health and money and the houses we live in.”

“At this season of the year we draw close to Good Friday. All the eyes of the world will turn back to "a green hill far away, without a city wall," where the founder of Christianity was crucified by those forces of selfishness, greed, and lust for gain that are still at work in the world. It seems to me that unless we do something in Canada about the question of the export of war materials there will be another crucifixion - the crucifixion of a generation of young men, crucified upon a cross of nickel.”

“Before I start carving the idea must be almost complete. I say 'almost' because the really important thing seems to be the sculptor's ability to let his intuition guide him over the gap between conception and realization without compromising the integrity of the original idea; the point being that the material has vitality - it resists and makes demands.”

“It seems far simpler to go ahead and say that the epic is a fantastic myth, that happens to be true of the material Universe, that other myths are true in terms of their cultural meaning, and that there's absolutely no problem with holding more than one story, just as there's no problem with viewing the sunset in terms of planetary rotation and spectra and nuclear fusions one moment and as visual splendor the next.”

“In general, I feel, or I have come to feel, that the richest writing comes not from the people who dedicate themselves to writing alone. I know this is contradicted again and again but I continue to feel it. They don't, of course, write as much, or as fast, but I think it is riper and more satisfying when it does come. One of the difficulties of writing or doing any kind of creative work in America seems to me to be that we put such stress on production and material results. We put a time pressure and a mass pressure on creative work which are meaningless and infantile in that field.”

“I write my first draft by hand, at least for fiction. For non-fiction, I write happily on a computer, but for fiction I write by hand, because I'm trying to achieve a kind of thoughtless state, or an unconscious instinctive state. I'm not reading what I write when I wrote. It's an unconscious outpouring that's a mess, and it's many, many steps away from anything anyone would want to read. Creating that way seems to generate the most interesting material for me to work with, though.”

“A half century from now, our grandchildren are likely to look back at the era of mass employment in the market with the same sense of utter disbelief as we look upon slavery and serfdom in former times. The very idea that a human being's worth was measured almost exclusively by his or her productive output of goods and services and material wealth will seem primitive, even barbaric, and be regarded as a terrible loss of human value to our progeny living in a highly automated world where much of life is lived on the Collaborative Commons.”

“We think of religion as the symbolic expression of our highest moral ideals; we think of magic as a crude aggregate of superstitions. Religious belief seems to become mere superstitious credulity if we admit any relationship with magic. On the other hand our anthropological and ethnographical material makes it extremely difficult to separate the two fields.”

“Using an artful tool does not make one a dry technician. It seems to me that people that are anxious about our technical advancement, confuse means and ends. Naturally a person that only works for material gain will not harvest something that is worth living for. But the machine is not an end in itself. The airplane is not an end. It is a tool. Just like the plough.”

“I felt a gravitational pull to the material so that there's a certain element of acting that's not really necessary. I've really liked this in foreign movies before or I've observed others working with them and I've noticed that there's a method that goes on where the actors try and get the children, like the child actor, to interact with them in a real way. It seems like you're the adult trying to get the kid to fall in love with him.”

“The garden reconciles human art and wild nature, hard work and deep pleasure, spiritual practice and the material world. It is a magical place because it is not divided. The many divisions and polarizations that terrorize a disenchanted world find peaceful accord among mossy rock walls, rough stone paths, and trimmed bushes. Maybe a garden sometimes seems fragile, for all its earth and labor, because it achieves such an extraordinary delicate balance of nature and human life, naturalness and artificiality. It has its own liminality, its point of balance between great extremes.”

“A material resurrection seems strange and even absurd except for purposes of punishment, and all punishment which is to revenge rather than correct must be morally wrong, and when the World is at an end, what moral or warning purpose can eternal tortures answer?”

“I might spend 100 pages trying to get to know the world I'm writing about: its contours, who are my main characters, what are their relationships to each other, and just trying to get a sense of what and who this book is about. Usually around that point of 100 pages, I start to feel like I'm lost, I have too much material, it's time to start making some choices. It's typically at that point that I sit down and try to make a formal outline and winnow out what's not working and what I'm most interested in, where the story seems to be going.”

“Our institutions, if they do not erode entirely, can survive periods of decadence brought on by our material success, eras when the whole notion of civic militarism seems bothersome, and in which free speech is used to focus on our own imperfections without concern for the ghastly nature of our enemies.”

“Why is it that, despite having achieved previously undreamed-of miracles of progress, we seem more helpless in facing life than our less privileged ancestors were? The answer seems clear: while humankind collectively has increased its material powers a thousandfold, it has not advanced very far in terms of improving the content of experience.”

“In an age in which economists take for granted that people equate well-being with consumption, increasing numbers of people seem willing to trade certain freedoms and material comforts for a sense of immutable order and the rapture of faith.”

“If our entertainment culture seems debased and unsatisfying, the hope is that our children will create something of greater worth.But it is as if we expect them to create out of nothing, like God, for the encouragement of creativity is in the popular mind, opposed to instruction. There is little sense that creativity must grow out of tradition, even when it is critical of that tradition, and children are scarcely being given the materials on which their creativity could work”

“In a way, going to Africa allowed me to see possibilities that sometimes seem impossible in certain conditions. It also allowed me to see opportunities for material strategies. I hate it when people think I went and got something [from Africa] and brought it here. It's more about how it affects the way in which I work and affects [my] creativity.”

“The debut show, “Second Lives: Remixing the Ordinary,” is supposed to be about how artists reuse humble or unusual materials. There’s good work here, but much of what’s on view is actually more about obsession and repetition: a couch made out of 3,500 quarters, a necklace composed of 100 handgun triggers. The building, too, seems caught between wanting to be an object of decorative delectation and making an architectural statement.”

“I like film because it brings you very close to the absurd reality that you might spend a day shooting and not get a single image that you like or works, and you won't really know for a few days at least as you wait. It connects you and grounds you to a material reality and a patience that seems lost with digital. I also think the grain texture remains forever different, and in my opinion, what I find to be more beautiful.”