Quotessence
Home / Topics / Objects Quotes

Objects Quotes

Browse 4503 quotes about Objects.

Related topics

Objects Quotes

“When our Lord says, 'I have not spoken of Myself' (Jn. 12:49), and again, 'As the Father said to Me, so I speak' (Jn. 12:50), and 'The word which you hear is not mine, but the Father's Who sent Me' (Jn. 14:24), and in another place, 'As the Father commanded Me, even so I do' (Jn. 14:31), it is not because He lacks deliberate purpose or power of initiative, nor yet because He has to wait for the preconcerted key-note, that He employs language of this kind. His object is to make it plain that His own will is connected in indissoluble union with the Father.”

“When the sovereign spirit within us is true to nature, it stands poised and ready to adjust to every change in circumstances and to seize each new opportunity. It doesn't approach an object with prejudice or preconception, but handles each thing dispassionately before embracing it and, if necessary, finds advantage in what opposes it. It is like fire in this regard. Whereas a feeble flame might suffocate under a pile of dry sticks, a robust fire consumes everything it touches. The more objects of any kind heaped on it, the higher it rises, the hotter it burns.”

“Banning human cloning reflects our humanity. It is the right thing to do. Creating a child through this new method calls into question our most fundamental beliefs. It has the potential to threaten the sacred family bonds at the very core of our ideals and our society. At its worst, it could lead to misguided and malevolent attempts to select certain traits, even to create certain kind of children -- to make our children objects rather than cherished individuals.”

“The secondary Imagination I consider as an echo of the former, co-existing with the conscious will, yet still as identical with the primary in the kind of its agency, and differing only in degree, and in the mode of its operation. It dissolves, diffuses, dissipates, in order to recreate: or where this process is rendered impossible, yet still at all events it struggles to idealize and to unify. It is essentially vital, even as all objects (as objects) are essentially fixed and dead.”

“We see buildings in Britain mostly as freestanding objects. They are not meant to have a dialogue with anything around them, or with history, or with ideas of any kind beyond the self-referential. What we call 'regeneration' is largely an excuse for building for maximum profit with a bit of sculptural design thrown in to catch the eye of the media.”

“Even more ominous ... is the fact that since the Second World War a new kind of intellectual has emerged in large numbers. ... he is only minimally interested in the proper intellectual significance of images and objects. Such people are not really intellectuals, but visuals ... A visual is more interested in style than in content ... A visual does not feel a rioting crowd being machine-gunned by the police, he simply sees a brilliant news photograph.”

“The entire vitality of art depends upon its being either full of truth, or full of use; and that, however pleasant, wonderful, or impressive it may be in itself, it must yet be of inferior kind, and tend to deeper inferiority, unless it has clearly one of these main objects, either to state a true thing, or to adorn a serviceable one.”

“Cognitive states of mind are seldom addictive, since they depend upon exploration of the world, and the individual encounter with the individual object, whose appeal is outside the subject's control. Addiction arises when the subject has full control over a pleasure and can ponder it at will. It is primarily a matter of sensory pleasure, and involves a kind of short-circuiting of the pleasure network. Addiction is characterized by a loss of the emotional dynamic that would otherwise govern an outward-directed, cognitively creative life.”

“Cunning has only private selfish aims, and sticks at nothing which may make them succeed. Discretion has large and extended views, and, like a well-formed eye, commands a whole horizon; cunning is a kind of shortsightedness, that discovers the minutest objects which are near at hand, but is not able to discern things at a distance.”

“The motion picture is like journalism in that, more than any of the other arts, it confers celebrity. Not just on people - on acts, and objects, and places, and ways of life. The camera brings a kind of stardom to them all. I therefore doubt that film can ever argue effectively against its own material: that a genuine antiwar film, say, can be made on the basis of even the ugliest battle scenes ... No matter what filmmakers intend, film always argues yes.”

“They whirled past the dark trees, as feathers would be swept before a hurricane. Houses, gates, churches, hay-stacks, objects of every kind they shot by, with a velocity and noise like roaring waters suddenly let loose. Still the noise of pursuit grew louder, and still my uncle could hear the young lady wildly screaming, "Faster! Faster!"”

“If the objects who serve us feel ecstacy, they are much more often concerned with themselves than with us, and our own enjoyment is consequently impaired. The idea of seeing another person experience the same pleasure reduces one to a kind of equality which spoils the unutterable charms that come from despotism.”

“I think of consciousness as a bottomless lake, whose waters seem transparent, yet into which we can clearly see but a little way.But in this water there are countless objects at different depths; and certain influences will give certain kinds of those objects an upward influence which may be intense enough and continue long enough to bring them into the upper visible layer. After the impulse ceases they commence to sink downwards.”

“Tis a barbarous temper, and a sign of a very ill nature, to take delight in shocking any one: and, on the contrary, it is the mark of an amiable and a beneficent temper, to say all the kind things one can, without flattery or playing the hypocrite,--and what never fails of procuring the love and esteem of every one; which, next to doing good to a deserving object who wants it, is one of the greatest pleasures of this life.”

“Nothing more powerfully excites any affection than to conceal some part of its object, by throwing it into a kind of shade, whichat the same time that it shows enough to prepossess us in favour of the object, leaves still some work for the imagination.”

“The division between the useful arts and the fine arts must not be understood in too absolute a manner. In the humblest work of the craftsmen, if art is there, there is a concern for beauty, through a kind of indirect repercussion that the requirements of the creativity of the spirit exercise upon the production of an object to serve human needs.”

“There is yet another kind of matrimonial dialect (which naturally succeeds this of talking at each other), which may very properlybe styled The Language Contradictory.... In the former, however plain the object of satire may be exhibited to the whole company, yet there always remains some little covering.... But in this last method, the defiance becomes more open and the impetuosity with which these contradictions are uttered (although the subjects of them are often of the most indifferent nature) evidently prove that they arise from passion.”

“Though beauty is, with the most apt similitude, I had almost said with the most literal truth, called a flower that fades and dies almost in the very moment of its maturity; yet there is, methinks, a kind of beauty which lives even to old age; a beauty that is not in the features, but, if I may be allowed the expression, shines through them. As it is not merely corporeal it is not the object of mere sense, nor is it to be discovered but by persons of true taste and refined sentiment.”

“. . . the membership relation for sets can often be replaced by the composition operation for functions. This leads to an alternative foundation for Mathematics upon categories -- specifically, on the category of all functions. Now much of Mathematics is dynamic, in that it deals with morphisms of an object into another object of the same kind. Such morphisms (like functions) form categories, and so the approach via categories fits well with the objective of organizing and understanding Mathematics. That, in truth, should be the goal of a proper philosophy of Mathematics.”

“With the advent of digital imaging I made the transition from trying to figure out how to do things to creating objects, characters and the whole cloth. It kind of freed up the analytical part of my brain and I had the opportunity to use more of the creative side of my brain for how things interact with light and integrate into stories.”

“I desire to unite Myself to human souls, Know, My daughter, that when I come to a human heart in Holy Communion, My hands are full of all kinds of graces which I want to give to the soul. But souls do not even pay any attention to Me; they leave Me to Myself and busy themselves with other things... They treat Me as a dead object.”

“I still do mostly listen to CDs. I think that every format really is a different way of listening. If you take a different sort of psychological stance to it - like, I think the transition from vinyl to CD definitely marked a difference in the way people treated music. The vinyl commands a certain kind of reverence because it's a big object and quite fragile so you handle it rather carefully, and it's expensive so you pay attention to how it's looked after.”

“It's only when movement becomes the most natural state in our lives that we can finally begin to enjoy the motion. And it's only when standing still becomes impossible that we can finally embrace the kinds of changes that are inevitable in our lives. We were not designed to stand still. If we were, we'd have at least three legs. We were designed to move. Our bodies are bodies that have walked across vast continents. Our bodies are bodies that have carried objects of art and war over great distances. We are no less mobile than our ancestors. We are athletes. We are warriors. We are human.”

“There is a certain silence that can emanate from a lifeless object as from a chair lately used, or from a piano with old dust upon its keys, or from anything that has answered to the need of a man, for pleasure or for work. This kind of silence can speak. Its voice may be melancholy, but it is not always so; for the chair may have been left by a laughing child or the last notes of the piano may have been raucous and gay. Whatever the mood or the circumstance, the essence of its quality may linger in the silence that follows. It is a soundless echo.”

“I wish my life and decisions to depend upon myself, not on external forces of whatever kind. I wish to be the instrument of my own, not other men's, acts of will. I wish to be the subject, not an object...I wish to be somebody, not nobody; a doer - deciding, not being decided for, slef-directed and not acted upon by external nature or by other men as if I were a thing, or an animal, or a slave incapable of playing a human role, that is, of conceiving goals and policies of my own and realizing them.”

“[Photography] allows me to accede to an infra-knowledge; it supplies me with a collection of partial objects and can flatter a certain fetishism of mine: for this 'me' which like knowledge, which nourishes a kind of amorous preference for it. In the same way, I like certain biographical features which, in a writer's life, delight me as much as certain photographs; I have called these features 'biographemes'; Photography has the same relation to History that the biographeme has to biography.”

“While a forgery illegally exploits the elitist taste for rarity, a kitsch object insists on its anti elitist availability. The deceptive character of kitsch does not lie in whatever it may have in common with actual forgery but in its claim to supply its consumers with essentially the same kinds and qualities of beauty as those embodied in unique or rare and inaccessible originals.”

“When a female character sets herself on fire in an effort to interrupt her culture's violent abuse of disenfranchised people, or physically tortures and punishes her guardian rapist, or picks up a gun and fights back in ways that make her not pretty, or aggressively rejects her role as the object of desire, or even when she waddles off into the woods to squat and have a baby without the safety and expertise of hospitals and doctors, these are the kinds of violences and stories we can learn from.”

“I think his portraits of Jackie, Liz, Marilyn, Mao, Elvis, Lenin - and objects like the soup cans, the dollar signs, the hammer and sickle, it's all about icons. Its all about what people worship in an irreligious or secular world. In terms of Andy's personality and Andy Warhol as a human being who I was very close to, I still feel kind of sorry for him on a personal level. I mean, he was the ultimate example of great success wrapped around inner turmoil and emotional pain.”

“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 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.”