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Materials Quotes

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Materials Quotes

“Tools arm the man. One can well say that man is capable of bringing forth a world; he lacks only the necessary apparatus, the corresponding armature of his sensory tools. The beginning is there. Thus the principle of a warship lies in the idea of the shipbuilder, who is able to incorporate this thought by making himself into a gigantic machine, as it were, through a mass of men and appropriate tools and materials. Thus the idea of a moment often required monstrous organs, monstrous masses of materials, and man is therefore a potential, if not an actual creator.”

“All I wanted was to live a life where I could be me, and be okay with that. I had no need for material possessions, money or even close friends with me on my journey. I never understood people very well anyway, and they never seemed to understand me very well either. All I wanted was my art and the chance to be the creator of my own world, my own reality. I wanted the open road and new beginnings every day.”

“To only call Wizards, Aliens, and Starships engaging would be a real understatement--it is a delightful, funny, and immensely interesting romp through science and fiction. From candlepower to teleportation, all the way to the fate of the cosmos in the span of a googol years, this is a cornucopia of teachable material. It is also a reminder of the simple thrill of applying science to the world around us, real or imagined. A new classic.”

“This is the essential distinction--even opposition--between the painting and the film: the painting is composed subjectively, thefilm objectively. However highly we rate the function of the scenario writer--in actual practice it is rated very low--we must recognize that the film is not transposed directly and freely from the mind by means of a docile medium like paint, but must be cut piece-meal out of the lumbering material of the actual visible world.”

“The study of the properties of numbers, Plato tells us, habituates the mind to the contemplation of pure truth, and raises us above the material universe. He would have his disciples apply themselves to this study, not that they may be able to buy or sell, not that they may qualify themselves to be shopkeepers or travelling merchants, but that they may learn to withdraw their minds from the ever-shifting spectacle of this visible and tangible world, and to fix them on the immutable essences of things.”

“To one completely committed to this realm of becoming, as are the empiricists, the claim to apprehend verities is a sign of psychopathology. Probably we have here but a highly sophisticated expression of the doctrine that ideals are hallucination and that the only normal, sane person is the healthy extrovert, making instant, instinctive adjustments to the stimuli of the material world.”

“If you wish to collect complimentary material for a record of yourself, never appeal to your relations. They may be proud of you as an asset to the family name, but they have a gift for remembering your gawky period privately, the follies and faults you committed and have forgotten. You may have come up in the world with a laurel on your brow, but if you go back home forty years later wearing two laurels on your brow, and a noble expression, they will miss the point.”

“Material things have closed boundaries; they are not accessible, cannot be penetrated, by things outside themselves. But one's existence as a spiritual being involves being and remaining oneself and at the same time admitting and transforming into oneself the reality of the world. No other material thing can be present in the space occupied by a house, a tree, or a fountain pen. But where there is mind, the totality of things has room; it is "possible that in a single being the comprehensiveness of the whole universe may dwell.”

“It may be that the invention of the aeroplane flying-machine will be deemed to have been of less material value to the world than the discovery of Bessemer and open-hearth steel, or the perfection of the telegraph, or the introduction of new and more scientific methods in the management of our great industrial works. To us, however, the conquest of the air, to use a hackneyed phrase, is a technical triumph so dramatic and so amazing that it overshadows in importance every feat that the inventor has accomplished.”

“Disney cartoons are all rated G. It's really funny. There are kids all over the world who still have complexes over Bambi's father getting shot by the hunter and Bambi's mother getting crisped. But that's the way it's always been. This is the sort of material that appeals to kids. Kids understand it instinctively. They grip it.”

“As Joel Goldsmith said, in the presence of the God realized, the laws of the material world do not apply. That's why people who live steadfastly at a place of God-consciousness can perform miracles. They can create. They can make virtually anything happen. From the space in-between, that last inch is the critical inch you have to take to reach that place. Every once in a while, I get to that place of God-consciousness, and miracles do happen.”

“The nation as the horizon of an identity that you want to come into being as a fundamental absence of something that is compromised, something that needs to be rescued or made - these matters preoccupy the third world writer. It is seductive for a Marxist understanding of literary practice and production in the sense that it says that material culture determines literary output.”

“The main trend with the theme episodes is that anywhere there is a misconception about the way the physical world works, we're finding fertile material. Whether it's in a phrase like "going over like a lead balloon" or "a needle in a haystack," or tackling movie myths or even a genre, like MacGyver or James Bond, we're finding that all these things can lead to people believing the world works in a certain way. It might not be correct, but we can test out if it's true.”

“It is only necessary to seek one thing: to be with Jesus. The man who remains with Jesus is rich, even if he is poor with regard to material things. Who ever desires the earthly more than the heavenly loses both the earthly and the heavenly. But whoever seeks the heavenly is Lord of the whole world.”

“Being a fan of science fiction, I collect a lot of science fiction art work and so if you go to my house there's like a library and you just geek out on science fiction material. A lot of the colony worlds specifically are built as a melting pot of different societies, because the world is at a point where there are only two zones that are left inhabitable.”

“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.”

“Now here is a key: you want to make it real and present in the realm of your consciousness. You don't say "I'm going to do such and such" - it already has happened. Now, is consciousness real? It exists and it is very powerful. The idea is to have this mesh between your consciousness - your visualization - and the so-called material world.”

“Of all the discoveries which men need to make, the most important, at the present moment, is that of the self-forming power treasured up in themselves. They little suspect its extent, as little as the savage apprehends the energy which the mind is created to exert on the material world.”

“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.”