Early Quotes - page 91
If they had made that longer six-cylinder crankshaft strong enough and had supported it well enough, they would have obtained the smoother action they talks about in their advertisements. But they could not do that, and those early sixes had a very undesirable period vibration at certain speeds. That vibration more than offset the gain that they would have realized, if they had treated the crankshaft properly.
Henry M. Leland
So great is the ascendancy of the Law of Actions in the infancy of Courts of Justice, that substantive law has at first the look of being gradually secreted in the interstices of procedure; and the early lawyer can only see the law through the envelope of its technical forms.
Henry James Sumner Maine
In the early 1960s there existed a successful quantum theory of the electromagnetic force (QED), which was completed in the late 1940s, but the theories of the weak and strong nuclear forces were not yet known. In UC Berkeley, where I was a graduate student during the period 1962 – 66, the emphasis was on developing a theory of the strong nuclear force. I felt that UC Berkeley was the center of the Universe for high energy theory at the time. Geoffrey Chew (my thesis advisor) and Stanley Mandelstam were highly influential leaders. Also, Steve Weinberg and Shelly Glashow were impressive younger faculty members. David Gross was a contemporaneous Chew student with whom I shared an office.
John Henry Schwarz
.. you see they hung my painting here [on her show 'Wind', 2009] I did that in the early 1990s. People never really liked them so much back then, they thought they looked more like photographs. Actually, I was doing them when I was still married to Gerhard Richter [till 1993], and it was somehow in relation to what he was doing, you know, these kind of side-to-side gestural abstracts – done like this [gestures as if pulling a squeegee over a surface from one side to the other] like paintings of the 1950s. Mine were called 'Basic Research', they were rubbings of oil paint on canvas – frottages of the floor of my studio. I did quite a few of these. [Gerhard] Richter put one up in his studio for some time... But he found it too hard and then took it out after a while.
Isa Genzken
I've always loved 3D. In fact, as a kid, I was exposed to 3D at an early age because my grandfather was a specialist of 3D in cinematheques. And then my cousin put it in 'Science of Sleep' with toilet paper tube cities. But he was a specialist and I always wanted to do something in 3D.
Michel Gondry
As I was reading the extract from your paper in the geometric sum and difference... I was struck by the marvelous similarity between your results and those discoveries which I made even as early as 1832...
I conceived the first idea of the geometric sum and difference of two or more lines and also of the geometric product of two or three lines in that year (1832). This idea is in all ways identical to that presented in your paper. But since I was for a long time occupied with entirely different pursuits, I could not develop this idea. It was only in 1839 that I was led back to that idea and pursued this geometrical analysis up to the point where it ought to be applicable to all mechanics. It was possible for me to apply this method of analysis to the theory of tides, and in this I was astounded by the simplicity of the calculations resulting from this method.
Hermann Grassmann
The investigation of the possibility that animals might think in terms of concepts and even categories of important objects has been seriously impeded because comparative psychologists have seemed to be almost petrified by the notion of animal consciousness. Historically, the science of psychology has been reacting for fifty years or more against earlier attempts to learn how we think by thinking about our thoughts. ...In other realms of scientific endeavor we have to accept proof that is less than a hundred percent rigorous... think of cosmology, think of geology. And Darwin couldn't prove the fact of biological evolution in a rigorous way.
Donald Griffin
I spoke so much about being a manic-depressive. I want to bring everyone back to my earliest memories of this companion of mine. Some people call this companion I have an ailment, or worse a terrible nightmare from which some people cannot awaken. I know that I have nothing to be ashamed of. I have nothing that should garner a stigma.
Richard Dreyfuss
In shows selected by artists where there is no consciousness of sex, as in the American Abstract Artist Shows which began in the late 1930's or the Artists Annuals of the early 1950's, the ratio [between male and female artists presented there] seemed to be between one third and one quarter women. The only way to arrive at a true ratio, I suppose, would again be to have artist-juried shows.
Elaine de Kooning
Its highest degree of eloquence, which is beyond the capacity of a human being. However, since we come after the first Arabs we are unable to reach its essence. But the measure which we know is that the employment of lucid words and sweet constructions gracefully and without affectation that we find in the Tremendous Qur'an is to be found nowhere else in any of the poetry of the earlier or later peoples.
Shah Waliullah Dehlawi
Oh, early Kandinsky.. [stuck her early]. Well no, they had that at the Art Institute in Chicago, don't forget. See, everybody, to do 'modern art' then [New York, mid-forties], seemed to me, when you were going 'modern' [both chuckle], it was Picasso. I mean, everybody. But I avoided that like the plague. I thought... I loved Picasso, but it just wasn't for me... Well, I don't! I have some of those [early] paintings from LeLavandou - they're in storage - and from Mexico. They were Expressionist landscapes, or boats on the beach or something like that, which I still do. Sort of going abstract, going towards..
Joan Mitchell
And I came [to New York, 1945]... It was just after the war and I thought it was a little early to get over there [to Europe]. So I spent the winter under the Brooklyn Bridge, on the Brooklyn side, living with Barney Rosset, and I came here [to New York] to study with Hofmann... And I went to Hofmann's class and I couldn't understand a word he said so I left, terrified. But he and I became friends later on. Friends, but I never studied with him..
Joan Mitchell
I flung Churchgoing over early in life, from religious conviction. I did not believe in Church doctrine, as preached by the parson. I did not believe either in ordering myself "lowly and reverently to all my betters," because they were never able to tell me who my betters were. Those they called my betters I did not think my betters in any respect.
Joseph Arch
![When a labourer could no longer work, he had lost the right to live. Work was all they [the landowners] wanted from him; he was to work and hold his tongue, year in and year out, early and late, and if he could not work, why, what was the use of him? It was what he was made for, to labour and toil for his betters, without complaint, on a starvation wage. When no more work could be squeezed out of him, he was no better than a cumberer of other folk's ground, and the proper place for such as he was the churchyard, where he would be sure to lie quiet under a few feet of earth, and want neither food nor wages any more. (Joseph Arch)](https://cdn.quotesdtb.com/img/quotes_images_webp/84/joseph-arch-churchyard-complaint-943584.webp)
Earlier today we heard the beginning of the Preamble to the Constitution of the United States. ‘We the people.' It is a very eloquent beginning. But, when that document was completed on the seventeenth of September in 1787, I was not included in that ‘We, the people.' I felt somehow for many years that George Washington and Alexander Hamilton just left me out by mistake. But, through the process of amendment, interpretation, and court decision, I have finally been included in ‘We, the people.
Barbara Jordan
One of Collingwood's earliest attempts to define the aesthetic essence of art. His aim, he writes in the preface, is to state a general conception of art and develop its consequences. His conception is one already familiar through the writings of others -- "that art is as bottom neither more nor less than imagination" -- but from his observation he goes on to outline the various distinctions between subordinate conceptions of art, and to attempt to demonstrate their place in the general conception, and the place of both in life. He urges that the meaningfulness of art cannot be torn from the imaginative setting in which it is embedded, and that we must attempt to explain the process by which an artist reaches a particular point of view on reality.
R. G. Collingwood
