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Objects Quotes

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Objects Quotes

“Ceremony is an invention to take off the uneasy feeling which we derive from knowing ourselves to be less the object of love and esteem with a fellow-creature than some other person is. It endeavours to make up, by superior attentions in little points, for that invidious preference which it is forced to deny in the greater.”

“Dear rulers ... I maintain that the civil authorities are under obligation to compel the people to send their children to school. ... If the government can compel such citizens as are fit for military service to bear spear and rifle, to mount ramparts, and perform other martial duties in time of war, how much more has it a right to compel the people to send their children to school, because in this case we are warring with the devil, whose object it is secretly to exhaust our cities and principalities of their strong men.”

“Pure Christian love is not derived from the merit of the object.”

“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.”

“Towards the outside, at any rate, the ego seems to maintain clear and sharp lines of demarcation. There is only one state -- admittedly an unusual state, but not one that can be stigmatized as pathological -- in which it does not do this. At the height of being in love the boundary between ego and object threatens to melt away. Against all the evidence of his senses, a man who is in love declares that "I" and "you" are one, and is prepared to behave as if it were a fact.”

“By utility is meant that property is any object, whereby it tends to produce benefit, advantage, pleasure, good, or happiness(all this in the present case come to the same thing) or (what comes again to the same thing) to prevent the happening of mischief, pain, evil or unhappiness to the party who whose is considered: if that party be the community in general, then the happiness of the community; if a particular individual; then the happiness of that individual”

“The whole Renaissance tradition is antipethic to me. The hard-and-fast rules of perspective which it succeeded in imposing on art were a ghastly mistake which it has taken four centuries to redress; Cezanne and after him Picasso and myself can take a lot of credit for this. Scientific perspective forces the objects in a picture to disappear away from the beholder instead of bringing them within his reach as painting should.”

“We're like Magic 8-Balls. After you ask your question and shake the 8-Ball, you read the answer in the little window. If you ever broke open a Magic 8-Ball with a hammer, you discovered that it contained a many-sided plastic object, with an answer on every facet, floating in a cylinder of murky blue fluid. The many-sided core held the answer to your question. My theory is that, as with our children, as with every surface of that geodesic dome inside the 8-Ball, every age we've ever been is who we are.”

“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.”

“I do not define time, space, place, and motion, as being well known to all. Only I must observe, that the common people conceive those quantities under no other notions but from the relation they bear to sensible objects. And thence arise certain prejudices, for the removing of which it will be convenient to distinguish them into absolute and relative, true and apparent, mathematical and common.”

“The question so often asked of modern painting, "What is it?", contains more than the dull skepticism of the man who is not going to have the wool pulled over his eyes. It speaks of a fundamental placement in relation to the work, that of a voyager in the world coming upon a strange object. The reader reconstitutes the work by his active participation, by approaching the object, tapping it, shaking it, holding it to his ear to hear the roaring within. It is characteristic of the object that it does not declare itself all at once, in a rush of pleasant naïveté.”

“Curiosity is natural to the soul of man and interesting objects have a powerful influence on our affections. Let these influencing powers actuate, by the permission or disposal of Providence, from selfish or social views, yet in time the mysterious will of Heaven is unfolded, and we behold our conduct, from whatever motives excited, operating to answer the important designs of heaven.”

“Whatsoever is the object of any man's Appetite or Desire; that is it which he for his part calleth Good: and the object of his Hate and Aversion, evil.”

“If one takes pleasure in calling the gold standard a "barbarous relic," one cannot object to the application of the same term to every historically determined institution. Then the fact that the British speak English - and not Danish, German, or French - is a barbarous relic too, and every Briton who opposes the substitution of Esperanto for English is no less dogmatic and orthodox than those who do not wax rapturous about the plans for a managed currency.”

“Modern man, seeking a middle position in the evaluation of sense impression and thought, can, following Plato , interpret the process of understanding nature as a correspondence, that is, a coming into congruence of pre-existing images of the human psyche with external objects and their behaviour. Modern man, of course, unlike Plato , looks on the pre-existent original images also as not invariable, but as relative to the development of a conscious point of view, so that the word "dialectic" which Plato is fond of using may be applied to the process of development of human knowledge.”

“All my plans in private life; all my pursuits; all my designs, wishes, and thoughts, have this one great object in view: the overthrow of the ruffian Boroughmongers. If I write grammars; if I write on agriculture; if I sow, plant, or deal in seeds; whatever I do has first in view the destruction of those infamous tyrants.”

“His Majesty's Government views with favour the establishment in Palestine of a national home for the Jewish people, and will use their best endeavours to facilitate the achievement of this object, it being clearly understood that nothing shall be done which may prejudice the civil and religious rights of existing non-Jewish communities in Palestine, or the rights and political status enjoyed by Jews in any other country.”

“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..”

“What seems interesting to me is to reproduce in the figurative representation of an object the whole complex system of impressions we receive in the normal course of everyday life, the way this affects our feelings and the shape it takes in our memory; and it is to this that I have always applied myself.”

“With respect to the use of this sparkling coloured material (butterfly wings around 1955, fh) - the constituent parts of which remain indistinguishable - with the aim of producing a very vivid effect of scintillation, I realised that, for me, this responds to needs of the same order as those that formerly led me, in many drawings and paintings, to organize my lines and patches of colour so that the objects represented would meld into everything around them, so that the result would be a sort of continuous, universal soup with an intensive flavour of life.”

“What was needed was a literary theory which, while preserving the formalist bent of New Criticism, its dogged attention to literature as aesthetic object rather than social practice, would make something a good deal more systematic and 'scientific' out of all this. The answer arrived in 1957, in the shape of the Canadian Northrop Fryes mighty 'totalization' of all literary genres, Anatomy of Criticism .”