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“In obedience to the feeling of reality, we shall insist that, in the analysis of propositions, nothing "unreal" is to be admitted. But, after all, if there is nothing unreal, how, it may be asked, could we admit anything unreal? The reply is that, in dealing with propositions, we are dealing in the first instance with symbols, and if we attribute significance to groups of symbols which have no significance, we shall fall into the error of admitting unrealities, in the only sense in which this is possible, namely, as objects described.”

“Our feelings probably are not less strong at fifty than they were ten or fifteen years before; but they have changed their objects, and dwell on far different prospects. At five-and-thirty a man thinks of what his own existence is; when the maturity of age has grown into its autumn, he is wrapt up in that of others. The loss of wife or child then becomes more deplorable, as being impossible to repair; for no fresh connection can give us back the companion of our earlier years, nor a "new-sprung race" compensate for that, whose career we hoped to see run.”

“Every artist knows that there is no such thing as "freedom" in art. The first thing an artist does when he begins a new work is to lay down the barriers and limitations; he decides upon a certain composition, a certain key, a certain relation of creatures or objects to each other. He is never free, and the more splendid his imagination, the more intense his feeling, the farther he goes from general truth and general emotion.”

“The application of psychoanalysis to sociology must definitely guard against the mistake of wanting to give psychoanalytic answers where economic, technical, or political facts provide the real and sufficient explanation of sociological questions. On the other hand, the psychoanalyst must emphasize that the subject of sociology, society, in reality consists of individuals, and that it is these human beings, rather than abstract society as such, whose actions, thoughts, and feelings are the object of sociological research.”

“If you vent anger with the object of spreading your toxic feelings, the result will have nothing to do with healing. Your anger is your weapon. On the other hand, if you release anger the way you'd expel a rock from your shoe, your intention clearly has healing behind it. Once the anger starts flowing, both of these alternatives might feel the same. Anger is anger. But if you have a healing intention, two things will happen: you will feel more peaceful after your anger has been released, and you will feel like an old, fixed belief in enemies and injustice has started to move.”

“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.”

“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.”

“The modern artist is living in a mechanical age and we have a mechanical means of representing objects in nature such as the camera and photograph. The modern artist, it seems to me, is working and expressing an inner world - in other words - expressing the energy , the motion and the other inner forces ... the modern artist is working with space and time , and expressing his feelings rather than illustrating.”

“The beautiful is and remains beautiful though it arouse no emotion whatever, and though there be no one to look at it. In other words, although the beautiful exists for the gratification of an observer, it is independent of him. In this sense music, too, has no aim (object), and the mere fact that this particular art is so closely bound up with our feelings by no means justifies the assumption that its aesthetic principles depend on this union.”

“Ever since I was little, I’ve loved making hand-made cards and presents and arts & crafts for people. The book gives me a similar experience. I love being able to hold this object in my hands and say, “This is mine. I made this. It is a gift for you.” I love that feeling. Especially since this particular object contains ten years worth of my poems.”

“What I object to is the hyper-fetishized wedding day, the prioritizing of wedding over marriage. I have a real problem with couples spending far more time discussing the seating arrangement or the color of the bridesmaid's gowns than hashing out, for instance, their feelings about how they intend to handle questions of housework, child-rearing, finances and fidelity for the next four or five decades.”

“I knew what the sanctified life was not. Not a life filled with more rituals, more scrupulously observed. Not more praying. Not becoming a better person, being more charitable, more concerned with everyone else's pains. Sanctifying had something to do with a sense of constant wonder - feeling gratitude and finding significance everywhere, in every action, relationship and object.”

“When I first learned about Abrams and saw the types of books they were making, I knew I wanted my books to be published by them. Abrams books are special-when you hold one in your hands, you have the feeling that this book needed to be made. I once heard an artist say that books are fetish objects-I think Abrams gets that, because their books demand to be treasured. So who better to give comics art its proper due? I feel privileged to have found a home with Abrams.”

“I loved him. I hated him. I wanted to kiss him. I wanted to strangle him. I was a walking, talking contradiction. There were days I was so torn by my conflicting emotions that I thought I would be ripped in half. Staring at my best friend and secret object of my undying love, I wondered if I would ever get off this crazy train of emotions swirling around inside me. I didn't like feeling this way. But the truth was I couldn't remember a time I didn't feel this aching need to completely immerse myself in all things Daniel Lowe.”

“If I am allowed to give a metaphorical allusion to the future state of the blessed, I should imagine it by the orange-grove in that sheltered glen on which the sun is now beginning to shine, and of which the trees are at the same time, loaded with sweet golden fruit and balmy silver flowers. Such objects may well portray a state in which hope and fruition become one eternal feeling.”

“We wish that this column, rising towards heaven among the pointed spires of so many temples dedicated to God, may contribute also to produce in all minds a pious feeling of dependence and gratitude. We wish, finally, that the last object to the sight of him who leaves his native shore, and the first to gladden his who revisits it, may be something which shall remind him of the liberty and the glory of his country. Let it rise! let it rise, till it meet the sun in his coming; let the earliest light of the morning gild it, and the parting day linger and play on its summit!”

“When I teach a class I often give the assignment: Photograph someone you love. I ask people to do this so they have a subject about whom they have feelings, a subject that is more than a model, or an object, or a shape, or an idea. In this way, they can judge the result not only by its technical success, but also by how well it describes their feelings.”

“For me, it's not important whether [subjects] are naked, half-naked, or dressed. What I'm more interested in is how they present themselves: if someone is half-naked and having self-confidence or you have the feeling that she has or he has control of the situation. She likes to do it. Then I have nothing against it. But it's true that society doesn't talk about such issues. They just talk about whether there is a breast or not, but for me it's more interesting how the power game of camera and object is shown. And if it's a cool picture.”

“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.”

“The identifying personal association with objects, which are not personal, is an important modern experience - our real association, the strands of our feelings about the objects that surround us. It's also because they are so familiar, we don't think of them as important in the world, but actually they are the world. We are living in a very material world.”

“There's a quote that I learned in college a million years ago. "Happy, thought I, is the man who can, in one and the same embrace, hold both his love and the object of his love." Holding the feeling that you have and all the images that you've got and all the fantasies and romantic associations while also holding the actual core person that's been saddled with all of this.”