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Objects Quotes

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Objects Quotes

“There must be a union between the spirit in wood and the spirit in man. The grain of the wood must relate closely to its function. The abutment of the edge of one board to an adjoining board can mean the success or failure of a piece. () Gradually a form evolves, much as nature produces the tree in the first place. The object created can live forever. The tree lives on in its new form. The object cannot follow a transitory “style”, here for a moment, discarded the next. Its appeal must be universal. Cordial and receptive, it should invite a meeting with man”

“Nature, the sun itself, produces color effects... instantaneously. The impression of these evanescent visions is what we make desperate attempts to catch and fix by any means at hand. At such moments I am unconscious of materials, of style, of rules, of everything that intervenes between my perception and the object or idea perceived.”

“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”

“External objects produce decided effects upon the brain. A man shut up between four walls soon loses the power to associate words and ideas together. How many prisoners in solitary confinement become idiots, if not mad, for want of exercise for the thinking faculty!”

“All greatness in style begins, I imagine, with such respect, deep and passionate enough to produce a humility which will not assert itself at the expense even of inanimate things: out of which submissiveness a desire to serve is born, in disinterested accuracy toward the object, whatever it may be.”

“Roque...lined his men up and had them produce all the clothing, jewels, money, and other objects that they had stolen since the last time they had divided the spoils. Having made a hasty appraisal and reduced to terms of money those items that could not be divided, he split the whole into shares with such equity and exactitude that in not a single instance did he go beyond or fall short of a strict distributive justice. They were all well satisfied with the payment received, indeed they were quite well pleased; and Roque then turned to Don Quixote.”

“The whole story of the universe is implicit in any part of it. The meditative eye can look through any single object and see, as through a window, the entire cosmos. Make the smell of roast duck in an old kitchen diaphanous and you will have a glimpse of everything, from the spiral nebulae to Mozart's music and the stigmata of St. Francis of Assisi. The artistic problem is to produce diaphanousness in spots, selecting the spots so as to reveal only the most humanly significant of distant vistas behind the near familiar object.”

“Did men but consider that the sun, moon, and stars, and every other object of the senses, are only so many sensations in their minds, which have no other existence but barely being perceived, doubtless they would never fall down and worship their own ideas; but rather address their homage to that eternal invisible Mind which produces and sustains all things.”

“In spite of the fact that religion looks backward to revealed truth while science looks forward to new vistas and discoveries, both activities produce a sense of awe and a curious mixture of humility and arrogance in their practitioners. All great scientists are inspired by the subtlety and beauty of the natural world that they are seeking to understand. Each new subatomic particle, every unexpected object, produces delight and wonderment. In constructing their theories, physicists are frequently guided by arcane concepts of elegance in the belief that the universe is intrinsically beautiful.”

“All this care for the world, we must believe, is taken by the Gods without any act of will or labor. As bodies which possess some power produce their effects by merely existing: e.g. the sun gives light and heat by merely existing; so, and far more so, the providence of the Gods acts without effort to itself and for the good of the objects of its forethought. This solves the problems of the Epicureans , who argue that what is divine neither has trouble itself nor gives trouble to others.”

“We have good reason to believe that memories of early childhood do not persist in consciousness because of the absence or fragmentary character of language covering this period. Words serve as fixatives for mental images. . . . Even at the end of the second year of life when word tags exist for a number of objects in the child's life, these words are discrete and do not yet bind together the parts of an experience or organize them in a way that can produce a coherent memory.”

“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!”

“[The artist's aim is] not to instruct the viewer, but to give him information... . The artist would follow his predetermined premise to its conclusion, avoiding subjectivity. Chance, taste, or unconsciously remembered forms would play no part in the outcome. The serial artist does not attempt to produce a beautiful or mysterious object but functions merely as a clerk cataloguing the results of his premise.”

“I always try to create equal power between the subject and the object, so as not to end up creating a relationship where the camera is here and the object out there. This is for me a very difficult and sensitive balance. When I produce a work, cut and frame images, I realize that spectators can identify with the images and almost forget that someone else actually made them. This would be the optimal situation. I don't know whether I succeed in doing so, but that's what I would like to have happen.”

“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.”