Shaped Quotes (displaying: 1 - 30 of 1353 quotes )
It was the merit of Gestalt psychology to make us aware of the remarkable performance involved in perceiving shapes. Take, for example, a ball or an egg: we can see their shapes at a glance. Yet suppose that instead of the impression made on our eye by an aggregate of white points forming the surface of an egg, we were presented with another, logically equivalent, presentation of these points as given by a list of their spatial co-ordinate values. It would take years of labour to discover the shape inherent in this aggregate of figures - provided it could be guessed at all. The perception of the egg from the list of co-ordinate values would, in fact, be a feat rather similar in nature and measure of intellectual achievement to the discovery of the Copernican system.
After all, is it not the way we humans shape the universe, shape time itself? Do we not take the raw stuff of chaos and impose a beginning, middle, and end on it, like the simplest and most profound of folktales, to reflect the shapes of our own tiny lives? And if the physicists are right, that the physical world changes as it is observed, and we are its only known observers, then might we not be bending the entire chaotic universe, the eternal, ever-active Now, to fit that familiar form?
Jack was too absorbed in his work to hear the bell. He was mesmerized by the challenge of making soft, round shapes of hard rock. The stone had a will of its own, and if he tried to make it do something it did not want to do, it would fight him, and his chisel would slip, or dig in too deeply, spoiling the shapes. But once he had got to know the lump of rock in front of him he could transform it. The more difficult the task, the more fascinated he was. He was beginning to feel that the decorative carving demanded by Tom was too easy. Zigzags, lozenges, dogtooth, spirals and plain roll moldings bored him, and even these leaves were rather stiff and repetitive. He wanted to curve natural-looking foliage, pliable and irregular, and copy the different shapes of real leaves, oak and ash and birch.
No man, proclaimed Donne , is an Island, and he was wrong. If we were not islands, we would be lost, drowned in each other's tragedies. We are insulated (a word that means, literally, remember, made into an island ) from the tragedy of others, by our island nature, and by the repetitive shape and form of the stories. The shape does not change: there was a human being who was born, lived, and then, by some means or another, died. There. You may fill in the details from your own experience. As unoriginal as any other tale, as unique as any other life. Lives are snowflakes-forming patterns we have seen before, as like one another as peas in a pod (and have you ever looked at peas in a pod? I mean, really looked at them? There's not a chance you'd mistake one for another, after a minute's close inspection), but still unique.
But then, Cap'n Crunch in a flake form would be suicidal madness; it would last about as long, when immersed in milk, as snowflakes sifting down into a deep fryer. No, the cereal engineers at General Mills had to find a shape that would minimize surface area, and, as some sort of compromise between the sphere that is dictated by Euclidean geometry and whatever sunken treasure related shapes that the cereal aestheticians were probably clamoring for, they came up with this hard -to-pin-down striated pillow formation.
Up to a point a man's life is shaped by environment, heredity, and movements and changes in the world about him; then there comes a time when it lies within his grasp to shape the clay of his life into the sort of thing he wishes to be. Only the weak blame parents, their race, their times, lack of good fortune, or the quirks of fate. Everyone has it within his power to say , this I am today, that I shall be tomorrow. The wish, however, must be implemented by deeds.
Somewhere, far, far away, there's a shitty island. An island without a name. An island not worth giving a name. A shitty island with a shitty shape. On this shitty island grow palm trees that also have shitty shapes. And the palm trees produce coconuts that give off a shitty smell. Shitty monkeys live in the trees, and they love to eat these shitty-smelling coconuts, after which they shit the world's foulest shit. The shit falls on the ground and builds up shitty mounds, making the shitty palm trees that grown on them even shittier. It's an endless cycle.
TransformationsAll night he ran, his body air, But that was in another year. Lately the answered shape of his laughter, The shape of his smallest word, is fire. He who is a fierce young crier Of poems will be as tranquil as water, Keeping, in sunset glow, the pure Image of limitless desire; Then enter earth and come to be, Inch by inch, geography.
Every moment in your life is a turning and every one a choosing. Somewhere you made a choice. All followed to this. The accounting is scrupulous. The shape is drawn. No line can be erased. I had no belief in your ability to move a coin to your bidding. How could you? A person's path through the world seldom changes and even more seldom will it change abruptly. And the shape of your path was visible from the beginning.
To plot is to live. […] We start out lives in chaos, in babble. As we surge up into the world, we try to devise a shape, a plan. There is dignity in this. Your whole life is a plot, a scheme, a diagram. It is a failed scheme but that's not the point. To plot is to affirm life, to seek shape and control. Even after death, most particularly after death, the search continues. Burial rites are an attempt to complete the scheme, in ritual. Picture a state funeral, Jack. It is all precision, detail, order, design. The nation holds its breath. - (WN 292)
A giant octopus living way down deep at the bottom of the ocean. It has this tremendously powerful life force, a bunch of long, undulating legs, and it's heading somewhere, moving through the darkness of the ocean… It takes on all kinds of different shapes—sometimes it's 'the nation,' and sometimes it's 'the law,' and sometimes it takes on shapes that are more difficult and dangerous than that. You can try cutting off its legs, but they just keep growing back. Nobody can kill it. It's too strong, and it lives too far down in the ocean. Nobody knows where its heart is. What I felt then was a deep terror. And a kind of hopelessness, a feeling that I could never run away from this thing, no matter how far I went. And this creature, this thing doesn't give a damn that I'm me or you're you. In its presence, all human beings lose their names and their faces. We all turn into signs, into numbers.
Farber says (in my recollection, anyway) the European (or classical) art, including film, is culturally assumed to be a monumental slab. It's about that slab, and how it's been shaped, or what's been carved on it. In "termite art" though, your slab has been wormholed countless times, and its meaning is really taking place in the resulting interstices. The actual art of the piece, in other words, and your enjoyment of it, is taking place in the cracks, and the shape of the slab is coincidental and ultimately meaningless.
Now my five sensesgather into a meaningall acts, all presences; and as a lily gathersthe elements together, in me this dark and shining, that stillness and that moving, these shapes that spring from nothing, become a rhythm that dances, a pure design. While I'm in my five sensesthey send me spinningall sounds and silences, all shape and colouras thread for that weaver, whose web within me growingfollows beyond my knowingsome pattern sprung from nothing-a rhythm that dancesand is not mine.
And I knew that the Spirit that had gone forth to shape the world and make it live was still alive in it. I just had no doubt. I could see that I lived in the created world, and it was still being created. I would be part of it forever. There was no escape. The Spirit that made it was in it, shaping it and reshaping it, sometimes lying at rest, sometimes standing up and shaking itself, like a muddy horse, and letting the pieces fly.
[Eddie] cried out but his cry was lost in the golden blast of some tremendous horn. It came from the top of the Tower, and seemed to fill the world. As that note of warning held and drew out over the field where he stood, blackness welled from the windows which girdled the Tower. It overspilled them and spread across the sky in flaggy streams which came together and formed a growing blotch of darkness. It did not look like a cloud; it looked like a tumor hanging over the earth. The sky was blotted out. And, he saw, it was not a cloud or a tumor but a shape, some tenebrous, cyclopean shape racing toward the place where he stood.
Long voyages often lose themselves. Mam? You will see. It is difficult even for brothers to travel together on such a voyage. The road has its own reasons and no two travelers will have the same understanding of those reasons. If indeed they come to an understanding of them at all. Listen to the corridos of the country. They will tell you. Then you will see in your own life what is the cost of things. Perhaps it is true that nothing is hidden. Yet many do not wish to see what lies before them in plain sight. You will see. The shape of the road is the road. There is not some other road that wears the shape but only the one. And every voyage begun upon it will be completed. Whether horses are found or not.
Praise the world to the angel, not what can’t be talked about. You can’t impress him with your grand emotions. In the grand cosmos where he so intensely feels, you’re just a novice. So show him some simple thing shaped for generation after generation until it lives in our hands and in our eyes, and it’s ours. Tell him about things. He’ll stand amazed, just as you did beside the ropemaker in Rome or the potter on the Nile. Show him how happy a thing can be, how innocent and ours; how even grief’s lament purely determines its own shape, serves as a thing, or dies in a thing — and escapes In ecstasy beyond the violin.
But it is a curve each of them feels, unmistakably. It is the parabola. They must have guessed, once or twice -- guessed and refused to believe -- that everything, always, collectively, had been moving toward that purified shape latent in the sky, that shape of no surprise, no second chance, no return. Yet they do move forever under it, reserved for its own black-and-white bad news certainly as if it were the rainbow, and they its children. . . .