Quotes About Objects

I haven't sufficient interest in objects or anything I can see around me to do what Oldenburg does.

Objects in a park suggest static repose rather than any ongoing dialectic. Parks are finished landscapes for finished art .

The objects that are of moderate energy, like our sun or most of the stars that we see in the night sky with the naked eye, are objects in which relatively moderate energy processes are taking place.

I'm interested in finding whether or not there is a really massive, what we like to call 'super massive' black hole at the center of our galaxy. And the reason this is interesting is that it gives us an opportunity to prove whether or not these exotic objects really exist.

And we: spectators, always, everywhere, turned toward the world of objects, never outward. It fills us. We arrange it. It breaks down. We rearrange it, then break down ourselves. (Und wir: Zuschauer, immer, uberall, dem allen zugewandt und nie hinaus! Uns uberfullts. Wir ordnens. es zerfallt. Wir ordnens wieder und zerfallen selbst.)

But what is classification but the perceiving that these objects are not chaotic, and are not foreign, but have a law which is also a law of the human mind?

When we speak of nature in this manner, we have a distinct but most poetical sense in the mind. We mean the integrity of impression made by manifold natural objects. It is this which distinguishes the stick of timber of the wood-cutter, from the tree of the poet. The charming landscape which I saw this morning, is indubitably made up of some twenty or thirty farms. Miller owns this field, Locke that, and Manning the woodland beyond. But none of them owns the landscape.

We are made aware that magnitude of material things is relative, and all objects shrink and expand to serve the passion of the poet. Thus, in his sonnets, the lays of birds, the scents and dyes of flowers, he finds to be the shadow of his beloved; time, which keeps her from him, is his chest; the suspicion she has awakened, is her ornament

When we speak of nature on this way, we have a awesome however maximum poetical experience within the thoughts. We suggest the integrity of influence made by means of manifold natural objects. It is this which distinguishes the stick of timber of the timber-cutter, from the tree of the poet.

fundamental law of criticism. A life in harmony with nature, the love of truth and of virtue, will purge the eyes to understand her text. By degrees we may come to know the primitive sense of the permanent objects of nature, so that the world shall be to us an open book, and every form significant of its hidden life and final cause. A new interest surprises us, whilst, under the

Dreams and beasts are two keys by which we find out the secret of our own nature. They are test objects.

I am well aware that objects are nearer than they appear and should be handled with care. These

Actually, ownership is a thought process independent of the actual relationship that exists between us and objects in the world. Freeing ourselves from attachment to "ownership" frees us from our enslavement to objects.

In other words, it is about 50 times slower to create and destroy objects with finalizers.

A second advantage of static factory methods is that, unlike constructors, they are not required to create a new object each time they're invoked.

Builder pattern is more verbose than the telescoping constructor pattern, so it should be used only if there are enough parameters, say, four or more.

The subject matter of poetry is not that "collection of solid, static objects extended in space" but the life that is lived in the scene that it composes; and so reality is not that external scene but the life that is lived in it. Reality is things as they are.

The subject matter. . . is not that collection of solid, static objects extended in space but the life that is lived in the scene that it composes; and so reality is not that external scene but the life that is lived in it. Reality is things as they are.

Ideas are to objects as constellations are to stars [translated from Trauerspiel, 1928].

We are told about the world before we see it. We imagine most things before we experience them. And those preconceptions, unless education has made us acutely aware, govern deeply the whole process of perception. They mark out certain objects as familiar or strange, emphasizing the difference, so that the slightly familiar is seen as very familiar, and the somewhat strange as sharply alien. They

As you go further away from experience, you go higher into generalization or subtlety. As you go up in the balloon you throw more and more concrete objects overboard, and when you have reached the top with some phrase like the Rights of Humanity or the World Made Safe for Democracy, you see far and wide, but you see very little.

What is important, then, is not that the critic should possess a correct abstract definition of beauty for the intellect, but a certain kind of temperament, the power of being deeply moved by the presence of beautiful objects.

That sense of a life in natural objects, which in most poetry is but a rhetorical artifice, was, then, in Wordsworth the assertion of what was for him almost literal fact.

An art college tip is probably the repository for some of the ugliest objects on earth because they aren't only ugly objects, they're ugly objects that are trying to be art.