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“What it does remind us is that 'God' is not to be separated from the quest for the Kingdom of God and is not and cannot be the object of any detached 'scientific' contemplation. Heidegger's critique of onto-theology is also driving a wedge between speaking of God and the aims of science - not so as to get rid of God but rather to free God from a false objectification.”

“So when we come across somebody who does understand this and makes an effort to try and explain it to us, some people freak out and turn that person into either an object of worship or, some people freak out and want to kill that person. I think it's because they know what's true but they don't want to know, they don't want to face up to what that actually means. So they're going to kill the messenger and hope that by doing so they'll destroy the message so they can go back to living their ordinary life again.”

“The obvious example would be Jesus. Jesus is an object of fascination for me. He's an interesting historical character because we don't know much about him. He seems to be a guy who was in touch with something deeper than most people around him were and someone who was very concerned with trying to communicate that.”

“All the things you need in the death transition, you need now in the life transition, because life is a transition, it is a between state. Therefore, every night when you fall asleep, it's like you die. And every time you do, you should be using the process of falling asleep as giving up your attention to sense objects, your discursive ruminating thoughts and so on. You should use that as a process of giving up and giving yourself completely to the universe and becoming completely obliterated.”

“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.”

“The mind is never satisfied with the objects immediately before it, but is always breaking away from the present moment, and losing itself in schemes of future felicity... The natural flights of the human mind are not from pleasure to pleasure, but from hope to hope.”

“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.”

“It's an essay that Sigmund Freud wrote about E.T.A. Hoffman's short story called "The Sandman" where someone mistakes an inanimate object for a living, breathing human being. And one of the things that Sigmund Freud really felt was that in modern life people assign qualities to objects around them that may not exist there whatsoever.”

“Organizing time is exactly like organizing space. Just as a closet is a limited amount of space into which you must fit a certain number of objects, a schedule is a limited space into which you must fit a certain number of tasks. Each day and each week is simply a container, a storage unit with a definite capacity. The trick is to treat time not as an abstraction but as something solid that you can hold on to and move around.”

“And so it's no surprise that people who object to the death penalty on pure moral grounds also think it has no deterrent effect, and people who like the death penalty on grounds of retribution tend to think it has deterrent effects. They like that, and they believe that. I think with climate change we're seeing very much the same thing where those who deny climate change, they don't like that, and they don't believe it.”

“The idea of, say, the compressed space between the floor and the object hanging over it and then the long space between the object and the ceiling was a kind of interesting idea for me - the idea of compressing and expanding. That was an idea that I worked with, which you could only do sculpturally. You can't really do with a painting on the wall.”

“I think words speak to us even though they may be written on a wall. So we hear them in our mind. We say it to ourselves. But they are also visual things. You draw them. They are designed. They are colored. They have a certain size. I put them in a certain place. So they are objects that have to be - artistic decisions have to be made in terms of the color and the size and the line and whatever.”

“A text makes the word more specific. It really kind of defines it within the context in which it is being used. If it is just taken out of a context and presented as a sort of object, which is what - you know, which is a contemporary art idea, you know. It is like an old surrealist idea or an old cubist idea to take something out of context and put it in a completely different context. And it sort of gives it a different meaning and creates another world, another kind of world in which we enter.”

“The words represent ideas first of all. That is something you have to understand. I mean, it is not just an object, but it is an object with a history and it is loaded with all kinds of implications and ideas. They exist in the world in a very special way. So they kind of represent some aspect of the world that we perceive, as do photographs, as do drawings of trees or whatever. And they are not a one to one. They are not the world, but they kind of refer to the world and they also exist in the world.”

“For example, the idea that objects have properties out there in fixed ways is an incorrect idea about the world. Properties are created through relationships and processes. They are not inherent in electrons or photons or quanta any more than they are inherent in soil or trees or people. So my critique of reductionistic science is a critique that I have inherited from my scientific training. But it has been deepened by my experiences as an ecologist, in seeing the ecological destruction taking place today.”

“If you want a cow to be not just a cow but a milk machine, you can do a very good job at that by creating new hormones like the Bovine Growth Hormone. It might make the cow very ill, it might turn it into a drug addict, and it might even create consumer scares about the health and safety aspects of the milk. But we've gotten so used to manipulating objects and organisms and ecosystems for a single objective that we ignore the costs involved. I call this the "monoculture of the mind."”

“Look, the United States doesn't have political parties. In other countries, take say Europe, you can be an active member of the political party. Here, the only thing in a political party is gearing to elections, not the other things you do. So it's basically, a way of making people passive, submissive objects.”

“I want to engage people in an honest, enlightened, and provocative conversation about the nature of erotic desire and the intricacies of intimacy and sexuality. The object of my game is to bring nonjudgmental, multicultural understanding to the challenges and choices of modern relationships.”

“If you hand an adult a lump of clay, they're likely to respond by fashioning something representative out of the raw material. For the most part, they'll simply forge an object that signifies something "real" in the world, even if that something is as abstract as an emotion or an energy. A child, on the other hand, will just as often produce something totally without semiotic meaning, a shape or a mass that represents nothing that exists outside of their imagination. Or else, they'll eat it or throw it or ignore it, wholesale.”

“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.”