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Objects Quotes

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Objects Quotes

“When human men hold an object that makes a powerful noise, or has moving parts, or spins around fast, or has a button they can push (which either screws or nails something) they become Gods in their own heads.They can do anything: they can eat through walls and bring buildings together to form mighty empires.They can build floating cities and flying tin cans.But they still can't make their own beds.”

“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.”

“Pleasure and pain at once register upon the lover, inasmuch as the desirability of the love object derives, in part, from its lack. To whom is it lacking? To the lover. If we follow the trajectory of eros we consistently find it tracing out this same route: it moves out from the lover toward the beloved, then ricochets back to the lover himself and the hole in him, unnoticed before. Who is the subject of most love poems? Not the beloved. It is that hole.”

“Indeed, all things move, all things run, all things are rapidly changing. A profile is never motionless before our eyes, but it constantly appears and disappears. On account of the persistency of an image upon the retina, moving objects constantly multiply themselves; their form changes like rapid vibrations, in their mad career. Thus a running horse has not four legs, but twenty, and their movements are triangular.”

“It is easy for desire to be caught like a bird in a net, its wings fouled and twisted, no longer free to cross back and forth between silence and word. Desire may also find itself so amputated by tradition and community that it wanders in a void with nothing to orient it, to shape or discipline it. Desire must find ways to navigate its bitter and sweet paradox: it moves toward but also always through and beyond every object.”

“There are many things worth telling that are not quite narrative. And eternity itself possesses no beginning, middle or end. Fossils, arrowheads, castle ruins, empty crosses: from the Parthenon to the Bo Tree to a grown man's or woman's old stuffed bear, what moves us about many objects is not what remains but what has vanished. There comes a time, thanks to rivers, when a few beautiful old teeth are all that remain of the two-hundred-foot spires of life we call trees. There comes a river, whose current is time, that does a similar sculpting in the mind.”

“What quality is shared by all objects that provoke our aesthetic emotions? Only one answer seems possible— significant form. In each, lines and colors combined in a particular way; certain forms and relations of forms, stir our aesthetic emotions. These relations and combinations of lines and colors, these aesthetically moving forms, I call ‘Significant Form’; and ‘Significant Form’ is the one quality common to all works of visual art.”

“The aim of science is to apprehend this purely intelligible world as a thing in itself, an object which is what it is independently of all thinking, and thus antithetical to the sensible world.... The world of thought is the universal, the timeless and spaceless, the absolutely necessary, whereas the world of sense is the contingent, the changing and moving appearance which somehow indicates or symbolizes it.”

“Today, we know that time travel need not be confined to myths, science fiction, Hollywood movies, or even speculation by theoretical physicists. Time travel is possible. For example, an object traveling at high speeds ages more slowly than a stationary object. This means that if you were to travel into outer space and return, moving close to light speed, you could travel thousands of years into the Earth's future.”

“I've come to realize that I'm a image maker, not an object maker. Images come to me as photographs because I don't have any other way of express them. I have to translate everything into still or moving pictures. I've learned that reality is not important to me. In the end it is the representation of reality that I'm striving to capture.”

“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.”

“In one way an arrow moves, in another way the mind. The mind indeed, both when it exercises caution and when it is employed about inquiry, moves straight onward not the less, and to its object.”

“There was this interesting quote: try and live your life without fear and desire. It's this concept that's like when you look at a painting in a museum and you are held in aesthetic arrest. So the I, the ego, is stripped, is gone. The observer and thing become one. That's where fear and desire come in because you don't want to own it, possess it, desire it, and it's not moving you to fear. It's like you're in this harmonious state with the object.”

“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.”

“Various random experiments, cut-ups, fold-ins, juxtapositions, timed writings of other kinds, the "objects assignment" which involves dream, adventure, ancestry. Writing outside, writing on moving vehicles. Looking at paintings in the grand museums of the world in a proscribed way.Little strategies to keep the lalita - play or dance - going. Sometimes it's lonely you know, just you and your own imagination.”