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“Do you think it's possible that things that seem to be discrete in three dimensions might all be part of the same bigger object in four dimensions? ...What if humanity- that collective noun we so often employ- really is, at a higher level, a singular noun? What it what we perceive in three dimensions as seven billion individual human beings are really all just aspects of one giant being?”

“I think the answer of course is that space and time are not these hard external objects. Again we're, scientists have been building from one side of nature (physics) without considering the other side (life in consciousness). Neither side exists without the other. They cannot be divorced from one another or else there is no reality.”

“Man is distinguished from the brute animals in proportion as thought prevails over sense: but in the healthy processes of the mind, a balance is constantly maintained between the impressions from outward objects and the inward operations of the intellect:--for if there be an overbalance in the contemplative faculty, man thereby becomes the creature of mere meditation, and loses his natural power of action.”

“Hamlet 's character is the prevalence of the abstracting and generalizing habit over the practical. He does not want courage, skill, will, or opportunity; but every incident sets him thinking; and it is curious, and at the same time strictly natural, that Hamlet, who all the play seems reason itself, should he impelled, at last, by mere accident to effect his object. I have a smack of Hamlet myself, if I may say so.”

“[The church] is in its major part an opponent still of progress and improvement in all the ways that diminish suffering in the world, because it has chosen to label as morality a certain narrow set of rules of conduct which have nothing to do with human happiness; and when you say that this or that ought to be done because it would make for human happiness, they think that has nothing to do with the matter at all. "What has human happiness to do with morals? The object of morals is not to make people happy.”

“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.”

“I don't think she [Marilyn Monroe] saw herself as victimized and a sex object. She knew how to contend with it. I'm sure she was no fool about it. On the one hand, it was very flattering and great; on the other hand, it was probably awful and could be very lascivious and very terrible. But I think a lot of women just wanted to be like her. And that's still true today.”

“It was actually books that started to make those pockets of freedom, which I hadn't otherwise experienced. I do see them as talismans, as sacred objects. I see them as something that will protect me, I suppose, that will save me from things that I feel are threatening. I still think that; it doesn't change. It doesn't change, having money, being successful. So from the very first, if I was hurt in some way, then I would take a book -- which was very difficult for me to buy when I was little -- and I would go up into the hills, and that is how I would assuage my hurt.”

“So fully am I impressed with the vast importance and necessity of attaining what will be the object of my motion this night, that if, during the almost forty years that I have had the honour of a seat in parliament, I had been so fortunate as to accomplish that, and that only, I should think I had done enough, and could retire from public life with comfort, and the conscious satisfaction, that I had done my duty.”

“Marcel Duchamp, one of this century's pioneers, moved his work through the retinal boundaries which had been established with Impressionism into a field where language, thought and vision act upon one another. There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art... He declared that he wanted to kill art ("for myself") but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, a "new thought for that object."”

“Sex itself only only exists in relation to procreation. That's one of the reasons why I sometimes object, and it's just a theoretical objection, but it's worth thinking about, to the whole notion that one calls what people of the same sex do, sexual relations. As a matter of fact, they have precisely turned their back on sexual relations, in order to engage in acts of mutual pleasure that have nothing whatsoever to do with sexuality...”

“You have to seduce the reader, manipulate their mind and heart, listen to the music of language. I sometimes think of prose as music, in terms of its rhythms and dynamics, the way you compress and expand the attention of a reader over a sentence, the way the tempo pushes you towards an image or sensation. We want an intense experience, so that we can forget ourselves when we enter the world of the book. When you are reading, the physical object of the book should disappear from your hands.”

“I think men get nervous when women start counting the number of female senators, and whites become edgy when they hear the next Supreme Court seat will probably go to a Latino. This isn't always because they object to sharing the spoils, by the way; it just reminds us that the melting pot may not be working, and we haven't yet achieved the ambiguous national dream of becoming a nation of indistinguishable beige atheists.”

“The cause of all the blunders committed by man arises from this excessive self-love. For the lover is blinded by the object loved; so that he passes a wrong judgment on what is just, good and beautiful, thinking that he ought always to honor what belongs to himself in preference to truth. For he who intends to be a great man ought to love neither himself nor his own things, but only what is just, whether it happens to be done by himself, or by another.”

“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!”

“The sense of ownership is one reason why abuse tends to get worse as relationships get more serious. The more history and commitment that develop in the couple, the more the abuser comes to think of his partner as a prized object. Possessiveness is at the core of the abuser's mindset, the spring from which all the other streams spout; on some level he feels that he owns you and therefore has the right to treat you as he sees fit.”

“Speaking of opinions, the charming woman does not air hers very freely. The crude woman is eager to let you know what she thinks of every matter, person or object that bobs up. She comments on every passing item - even in public, as you may have noticed. Not only is it bad taste for her to be so desperately interested in her own reactions and opinions - but she throws away the precious aura of reserve and mystery that makes a woman attractive.”

“Actual knowledge is identical with its object: in the individual, potential knowledge is in time prior to actual knowledge, but in the universe as a whole it is not prior even in time. Mind is not at one time knowing and at another not. When mind is set free from its present conditions it appears as just what it is and nothing more: this alone is immortal and eternal (we do not, however, remember its former activity because, while mind in this sense is impassible, mind as passive is destructible), and without it nothing thinks.”

“Calling something exotic emphasizes its distance from the reader. We don't refer to things as exotic if we think of them as ordinary. We call something exotic if it's so different that we see no way to emulate it or understand how it came to be. We call someone exotic if we aren't especially interested in viewing them as people - just as objects representing their culture.”

“Designing for me is a very complex process. There are many ideas that I want to express in one object, very often contradictory. The creative process in Miu Miu is completely different from that of Prada. Miu Miu is not as complicated and thought out as Prada. Rather than being young, Miu Miu is immediate Prada is very sophisticated and considered; Miu Miu is much more naive. The solution, when I am working on Miu Miu, has to come immediately, instinctively, spontaneously with whatever is available at the moment. If I think three times, I stop.”