Relation Quotes - page 30
She was alive to the greatness of material laws and forces; she had a keen eye for the importance of the physical sciences; she knew how to organize the arts of ordinary life. But she saw that the physical does not get its full sense until it stands in right relation to the supra-physical; she saw that the complexity of the universe could not be explained in the present terms of man or seen by his superficial sight, that there were other powers behind, other powers within man himself of which he is normally unaware, that he is conscious only of a small part of himself, that the invisible always surrounds the visible, the supra-sensible the sensible, even as infinity always surrounds the finite. She saw too that man has the power of exceeding himself, of becoming himself more entirely and profoundly than he is, - truths which have only recently begun to be seen in Europe and seem even now too great for its common intelligence.
Sri Aurobindo
It would be ridiculous to talk of male and female atmospheres, male and female springs or rains, male and female sunshine.... how much more ridiculous is it in relation to mind, to soul, to thought, where there is as undeniably no such thing as sex, to talk of male and female education and of male and female schools. [written with Elizabeth Cady Stanton].
Susan B. Anthony
Collections of all twelve pitch classes can be differentiated from one another only by assigning an order to the pitch classes or by partitioning them into mutually exclusive sub-collections. The ordering principle is the basis of the twelve-tone system formulated by Schoenberg, the partitioning principle the basis of the system formulated around the same time by Hauer. In Schoenberg's compositional practice, however, the concept of a segmental pitch-class content is represented as well, as a basis for the association of paired inversionally related set forms. On the relation between Schoenberg and Hauer see Bryan R. Simms, "Who First Composed Twelve-Tone Music, Schoenberg or Hauer?" Journal of the Arnold Schoenberg Institute X/2 (November 1987).
George Perle
I believed from the beginning of remembered experience that I was somebody with an incalculable potential for enlargement, somebody who both knew and could find out, upon whom demands could be made with the expectation of having them fulfilled.
I felt at the same time, and pretty much constantly, that I was nothing in relation to Enormity, the Unknown, and the Unknowable.
William Saroyan
I have throughout introduced the Integral Calculus in connexion with the Differential Calculus. ...Is it always proper to learn every branch of a direct subject before anything connected with the inverse relation is considered? If so why are not multiplication and involution in arithmetic made to follow addition and precede subtraction?
Augustus De Morgan
Even those who have desired to work out a completely positive philosophy have been philosophers only to the extent that, at the same time, they have refused the right to install themselves in absolute knowledge. They taught not this knowledge, but its becoming in us, not the absolute but, at most, our absolute relation to it, as Kierkegaard said. What makes a philosopher is the movement which leads back without ceasing from knowledge to ignorance, from ignorance to knowledge, and a kind of rest in this movement.
Maurice Merleau-Ponty
Human being is both being in the world and living in the world. Living involves responsible understanding of one's role in relation to all other beings. For living is not being in itself, but living of the world, affecting, exploiting, consuming, comprehending, deriving, depriving.
Abraham Joshua Heschel
A few of them fire their pieces. At first they do so almost timidly, as if fearing a rebuke for wasting ammunition when they do not see the enemy. Others do nothing. Some fail to act mainly because they are puzzled what to do and their leaders do not tell them; others are wholly unnerved and can neither think nor move in sensible relation to the situation.
S.L.A. Marshall
I still, when I judge my own pictures (either while I'm working or after I think it's finished) determine if they work in a certain kind of space through shape or color. I think all totally abstract pictures – the best ones that really come off – Newman, Pollock, Noland – have tremendous space; perspective space despite the emphasis on flat surface. For example, in Noland a band of yellow in relation to a band of blue and one of orange can move in depth although they are married to the surface. This has become a familiar explanation, but few people really see and feel it that way.... in my work, because of color and shape a lot is read in the landscape sense..
Helen Frankenthaler
