One whose soul does not wander in the expanses, one who does not seek the light of truth and goodness with all his heart, does not suffer spiritual ruins - but he will also not have his own self-based constructions. Instead, he takes shelter in the shadow of the natural constructions, like rabbits under boulders. But one who has a human soul cannot take shelter in anything other than constructions that he builds with his own spiritual toil...
Abraham Isaac Kook
Through algebra you easily arrive at equations, but always to pass therefrom to the elegant constructions and demonstrations which usually result by means of the method of porisms is not so easy, nor is one's ingenuity and power of invention so greatly exercised and refined in this analysis.
every hypothesis is a construction, and because of this it is an authentic theory. In so far as they merit that exigent name, ideas are never a mere reception of presumed realities, but they are constructions of possibilities; therefore they are pure bits of imagination, or fine ideas of our own...
Jose Ortega y Gasset
My paintings are loosely based on meta narratives. The pictures float in and out of pictorial genres. Still life's become personified, portraits become events, and landscapes become constructions. I embrace the area between which the subject is composed and decomposing, formed and formless, inanimate and alive.
I abandoned the extraterrestria l hypothesis in 1967 when my own field investigations disclosed an astonishing overlap between psychic phenomena and UFOs ... The objects and apparitions do not necessarily originate on another planet and may not even exist as permanent constructions of matter. It is more likely that we see what we want to see and interpret such visions according to our contemporary beliefs.
John A. Keel
Those who have a why to live for can bear almost any how. The necessary premise is that a person is somehow more than his or her "characteristics," all the emotions, strivings, tastes, and constructions which it pleases us to call "My Life." We have grounds to hope that a Life is something more than a cloud of particles, mere facticity. Go through what is comprehensible and you conclude that only the incomprehensible gives any light.
Theories of genius are the peculiar constructions of our own philosophical times; ages of genius had passed away, and they left no other record than their works; no preconcerted theory described the workings of the imagination to be without imagination, nor did they venture to teach how to invent invention.
The truth us that other systems of geometry are possible, yet after all, these other systems are not spaces but other methods of space measurements. There is one space only, though we may conceive of many different manifolds, which are contrivances or ideal constructions invented for the purpose of determining space.
Each worldview was a cultural product, but evolution is true and separate creation is not. [...] Worldviews are social constructions, and they channel the search for facts. But facts are found and knowledge progresses, however fitfully. Fact and theory are intertwined, and all great scientists understand the interaction.
Stephen Jay Gould
For 11 years, I was mayor of Tirana, our capital. We faced many challenges. Art was part of the answer, and my name, in the very beginning, was linked with two things: demolition of illegal constructions in order to get public space back, and use of colors in order to revive the hope that had been lost in my city.
Questions, inside the larger mystery of sorrow, which contains us and our daily transit, and is large enough indeed to contain the whole shifting tidal theater where I make small constructions, my metaphors, my defenses. Against which I play out theories, doubts, certainties bright as high tide in sunlight, which shift just as that brightness does, in fog or rain.
What my mom failed to understand was that I didn't even want long hair -- I needed long hair. And my desire for protracted, flowing locks had virtually nothing to do with fashion, nor was it a form of protest against the constructions of mainstream society. My motivation was far more philosophical. I wanted to rock.
Nature is purposeless. Nature simply is. We may find nature beautiful or terrible, but those feelings are human constructions. Such utter and complete mindlessness is hard for us to accept. We feel such a strong connection to nature. But the relationship between nature and us is one-sided. There is no reciprocity. There is no mind on the other side of the wall.
Space and force pervade language. Many cognitive scientists (including me) have concluded from their research on language that a handful of concepts about places, paths, motions, agency, and causation underlie the literal or figurative meanings of tens of thousands of words and constructions, not only in English but in every other language that has been studied.
Lexical variety, eccentric constructions and punctuation, variant spellings, archaisms, the ability to pile clause on clause, the effortless incorporation of words from other languages: flexibility, and inclusiveness, is what makes English great; and diversity is what keeps it healthy and growing, exuberantly regenerating itself with rich new forms and usages.
That we do not discover reality but rather invent it is quite shocking for many people. And the shocking part about it - according to the concept of radical constructivism - is that the only thing we can ever know about the real reality (if it even exists) is what it is not. It is only with the collapse of our constructions of reality that we first discover that the world is not the way we imagine.
Several large, artificial constructions are approaching us, ZORAC announced after a short pause. The designs are not familiar, but they are obviously the products of intelligence. Implications: we have been intercepted deliberately by a means unknown, for a purpose unknown, and transferred to a place unknown by a form of intelligence unknown. Apart from the unknowns, everything is obvious.
James P. Hogan
It is well known that geometry presupposes not only the concept of space but also the first fundamental notions for constructions in space as given in advance. It only gives nominal definitions for them, while the essential means of determining them appear in the form of axioms. The relationship of these presumptions is left in the dark; one sees neither whether and in how far their connection is necessary, nor a priori whether it is possible. From Euclid to Legendre, to name the most renowned of modern writers on geometry, this darkness has been lifted neither by the mathematicians nor the philosophers who have laboured upon it.
The ghosts of Manhattan are not the spirits of the propertied classes; these are entombed in their names, their works, their constructions. New York's ghosts are the unresting souls of the poor, the marginal, the dispossessed, the depraved, the defective, the recalcitrant. They are the guardian spirits of the urban wilderness in which they lived and died. Unrecognized by the history that is common knowledge, they push invisibly behind it to erect their memorials in the collective unconscious.
Emotions, in my experience aren't covered by single words. I don't believe in "sadness," "joy," or "regret." I'd like to have at my disposal complicated hybrid emotions, Germanic traincar constructions like, say, "the happiness that attends disaster." Or: "the disappointment of sleeping with one's fantasy." ... I'd like to have a word for "the sadness inspired by failing restaurants" as well as for "the excitement of getting a room with a minibar." I've never had the right words to describe my life...
So are demons forces that are totally external to us who seek to defy God? Are they just the shadow side of our own souls? Are they social constructions from a premodern era? Bottom line: Who cares? I don't think demons are something human reason can put its finger on. Or that human faith can resolve. I just know that demons, whether they be addictions or actual evil spirits, are not what Jesus wants for us, since basically every time he encounters them he tells them to piss off.
This 'web of discourses' as Robyn called it... is as much a biological product as any of the other constructions to be found in the animal world. (Clothes too, are part of the extended phenotype of Homo Sapiens almost every niche inhabited by that species.An illustrated encyclopedia of zoology should no more picture Homo Sapiens naked than it should picture Ursus arctus-the black bear- wearing a clown suit and riding a bicycle.
Daniel C. Dennett
Quotes are like prompts. A way of searching, connecting the dots. Other people's thinking has always - both positively and negatively - jumpstarted my thinking. Quotes are also a way of acting out not just a text, and not just thinking, but the making of a text. The construction of thinking. The quotes are part of those constructions and reflections. Thinking through quotes, which to say scouring a range of texts for insight, is one way to outline the process of thinking/feeling through a subject.
Theatre has nothing to do with buildings or other physical constructions. Theatre - or theatricality - is the capacity, this human property which allows man to observe himself in action, in activity. Man can see himself in the act of seeing, in the act of acting, in the act of feeling, the act of thinking. Feel himself feeling, think himself thinking.
Don't think about why you question, simply don't stop questioning. Don't worry about what you can't answer, and don't try to explain what you can't know. Curiosity is its own reason. Aren't you in awe when you contemplate the mysteries of eternity, of life, of the marvelous structure behind reality? And this is the miracle of the human mind-to use its constructions, concepts, and formulas as tools to explain what man sees, feels and touches. Try to comprehend a little more each day. Have holy curiosity.
Thus we can get the correct answer for the probability of partial reflection by imagining (falsely) that all reflection comes from only the front and back surfaces. In this intuitively easy analysis, the 'front surface' and 'back surface' arrows are mathematical constructions that give us the right answer, whereas .... a more accurate representation of what is really going on: partial reflection is the scattering of light by electrons inside the glass.
Richard P. Feynman
General Systems Theory is a name which has come into use to describe a level of theoretical model-building which lies somewhere between the highly generalized constructions of pure mathematics and the specific theories of the specialized disciplines. Mathematics attempts to organize highly general relationships into a coherent system, a system however which does not have any necessary connections with the "real" world around us. It studies all thinkable relationships abstracted from any concrete situation or body of empirical knowledge.
Kenneth E. Boulding
I see,... and with the deepest affliction, the rapid strides with which the federal branch of our government is advancing towards the usurpation of all the rights reserved to the States, and the consolidation in itself of all powers, foreign and domestic; and that, too, by constructions which, if legitimate, leave no limits to their power... It is but too evident that the three ruling branches of [the Federal government] are in combination to strip their colleagues, the State authorities, of the powers reserved by them, and to exercise themselves all functions foreign and domestic.
e‰tant la plus saisissante manifestation de l'art des constructions metalliques par lesquelles nos ingenieurs se sont illustres en Europe, elle est une des formes les plus frappantes de notre genie national moderne. Being the most striking manifestation of the art of metal structures by which our engineers have shown in Europe, it [the Eiffel Tower] is one of the most striking of our modern national genius.
At that shameful stage in the development of our criticism, literary abuse would overstep all limits of decorum; literature itself was a totally extraneous matter in critical articles: they were pure invective, a vulgar battle of vulgar jokes, double-entendres, the most vicious calumnies and offensive constructions. It goes without saying, that in this inglorious battle, the only winners were those who had nothing to lose as far as their good name was concerned. My friends and I were totally deluded. We imagined ourselves engaged in the subtle philosophical disputes of the portico or the academy, or at least the drawing room. In actual fact we were slumming it.
To mystify, in the active sense, is to befuddle, cloud, obscure, mask whatever is going on, whether this be experience, action, or process, or whatever is "the issue." It induces confusion in the sense that there is failure to see what is "really" being experienced, or being done, or going on, and failure to distinguish or discriminate the actual issues. This entails the substitution of false for true constructions of what is being experienced, being done (praxis), or going on (process), and the substitution of false issues for the actual issues.
R. D. Laing
Emotions, in my experience, aren't covered by single words. I don't believe in "sadness, " "joy, " or "regret." Maybe the best proof that the language is patriarchal is that it oversimplifies feeling. I'd like to have at my disposal complicated hybrid emotions, Germanic train-car constructions like, say, "the happiness that attends disaster." Or: "the disappointment of sleeping with one's fantasy." I'd like to show how "intimations of mortality brought on by aging family members" connects with "the hatred of mirrors that begins in middle age." I'd like to have a word for "the sadness inspired by failing restaurants" as well as for "the excitement of getting a room with a minibar." I've never had the right words to describe my life, and now that I've entered my story, I need them more than ever.
I was standing alone with him when she burst impetuously through the door, tall and wearing a rain-cape on top of a queen's costume, a forgotten crown on her head. She directed some rapid words at him. He began to tremble all over and dropped my hand from under his arm. Vera seized me cruelly by the arm and led me off... She led me through murky, dusty expanses, between strange machinery and constructions, through valleys and mountains and past a precarious wood to her dressing-room. And she still held me cruelly by the arm. There she slammed the door shut, rudely chasing away some handsome women with the amorous eyes of worshipers. I do not recall her words. It was as though she were all aflame. She kissed my hands and I realized then that she had seen only me that evening, that she had performed for only me, that she loved me and that this was all such madness. ("Thirty-Three Abominations")
So it was that the Red Tower put into production its new, more terrible and perplexing, line of unique novelty items. Among the objects and constructions now manufactured were several of an almost innocent nature. These included tiny, delicate cameos that were heavier than their size would suggest, far heavier, and lockets whose shiny outer surface flipped open to reveal a black reverberant abyss inside, a deep blackness roaring with echoes. Along the same lines was a series of lifelike replicas of internal organs and physiological structures, many of them evidencing an advanced stages of disease and all of them displeasingly warm and soft to the touch. There was a fake disembodied hand on which fingernails would grow several inches overnight and insistently grew back should one attempt to clip them. Numerous natural objects, mostly bulbous gourds, were designed to produce a long, deafening scream whenever they were picked up or otherwise disturbed in their vegetable stillness. Less scrutable were such things as hardened globs of lava into whose rough, igneous forms were sent a pair of rheumy eyes that perpetually shifted their gaze from side to side like a relentless pendulum. And there was also a humble piece of cement, a fragment broken away from any street or sidewalk, that left a most intractable stain, greasy and green, on whatever surface it was placed. But such fairly simple items were eventually followed, and ultimately replaced, by more articulated objects and constructions. One example of this complex type of novelty item was an ornate music box that, when opened, emitted a brief gurgling or sucking sound in emulation of a dying individual's death rattle. Another product manufactured in great quantity at the Red Tower was a pocket watch in a gold casing which opened to reveal a curious timepiece whose numerals were represented by tiny quivering insects while the circling 'hands' were reptilian tongues, slender and pink. But these examples hardly begin to hint at the range of goods that came from the factory during its novelty phase of production. I should at least mention the exotic carpets woven with intricate abstract patterns that, when focused upon for a certain length of time, composed themselves into fleeting phantasmagoric scenes of a kind which might pass through a fever-stricken or even permanently damaged brain.
Inevitably, his vision verged toward the fantastic; he published a scattering of stories - most included in this volume - which appeared to conform to that genre at least to the degree that the fuller part of his vision could be seen as "mysteries." For Woolrich it all was fantastic; the clock in the tower, hand in the glove, out of control vehicle, errant gunshot which destroyed; whether destructive coincidence was masked in the "naturalistic" or the "incredible" was all pretty much the same to him. RENDEZVOUS IN BLACK, THE BRIDE WORE BLACK, NIGHTMARE are all great swollen dreams, turgid constructions of the night, obsession and grotesque outcome; to turn from these to the "fantastic" was not to turn at all. The work, as is usually the case with a major writer was perfectly formed, perfectly consistent, the vision leached into every area and pulled the book together. "Jane Brown's Body" is a suspense story. THE BRIDE WORE BLACK is science fiction. PHANTOM LADY is a gothic. RENDEZVOUS IN BLACK was a bildungsroman. It does not matter.
Barry N. Malzberg
Il me semble qu'ils confondent but et moyen ceux qui s'effraient par trop de nos progre¨s techniques. Quiconque lutte dans l'unique espoir de biens materiels, en effet, ne recolte rien qui vaille de vivre. Mais la machine n'est pas un but. L'avion n'est pas un but : c'est un outil, un outil comme la charrue. Si nous croyons que la machine abe®me l'homme c'est que, peut-eªtre, nous manquons un peu de recul pour juger les effets de transformations aussi rapides que celles que nous avons subies. Que sont les cent annees de l'histoire de la machine en regard des deux cent mille annees de l'histoire de l'homme? C'est e peine si nous nous installons dans ce paysage de mines et de centrales electriques. C'est e peine si nous commene§ons d'habiter cette maison nouvelle, que nous n'avons meªme pas acheve de be¢tir. Tout a change si vite autour de nous : rapports humains, conditions de travail, coutumes. Notre psychologie elle-meªme a ete bousculee dans ses bases les plus intimes. Les notions de separation, d'absence, de distance, de retour, si les mots sont demeures les meªmes, ne contiennent plus les meªmes realites. Pour saisir le monde aujourd'hui, nous usons d'un langage qui fut etabli pour le monde d'hier. Et la vie du passe nous semble mieux repondre e notre nature, pour la seule raison qu'elle repond mieux e notre langage. Pour le colonial qui fonde un empire, le sens de la vie est de conquerir. Le soldat meprise le colon. Mais le but de cette conqueªte n'etait-il pas l'etablissement de ce colon? Ainsi dans l'exaltation de nos progre¨s, nous avons fait servir les hommes e l'etablissement des voies ferrees, e l'erection des usines, au forage de puits de petrole. Nous avions un peu oublie que nous dressions ces constructions pour servir les hommes. (Terre des Hommes, ch. III)
Antoine de Saint-Exupery