Annihilation Quotes (7 quotes)
All men hate the wretched; how, then, must I be hated, who am miserable beyond all living things! Yet you, my creator, detest and spurn me, thy creature, to whom thou are bound by ties only dissoluble by the annihilation of one of us.
But we have reason to think that the annihilation of work is no less a physical impossibility than its creation, that is, than perpetual motion.
One would have to have been brought up in the “spirit of militarism” to understand the difference between Hiroshima and Nagasaki on the one hand, and Auschwitz and Belsen on the other. The usual reasoning is the following: the former case is one of warfare, the latter of cold-blooded slaughter. But the plain truth is that the people involved are in both instances nonparticipants, defenseless old people, women, and children, whose annihilation is supposed to achieve some political or military objective.… I am certain that the human race is doomed, unless its instinctive detestation of atrocities gains the upper hand over the artificially constructed judgment of reason.
— Max Born
The law of conservation rigidly excludes both creation and annihilation. Waves may change to ripples, and ripples to waves,—magnitude may be substituted for number, and number for magnitude,—asteroids may aggregate to suns, suns may resolve themselves into florae and faunae, and florae and faunae melt in air,—the flux of power is eternally the same. It rolls in music through the ages, and all terrestrial energy,—the manifestations of life, as well as the display of phenomena, are but the modulations of its rhythm.
There is nothing more certain in nature than that it is impossible for any body to be utterly annihilated.
[Stating the conservation of matter.]
[Stating the conservation of matter.]
These machines [used in the defense of the Syracusans against the Romans under Marcellus] he [Archimedes] had designed and contrived, not as matters of any importance, but as mere amusements in geometry; in compliance with king Hiero’s desire and request, some time before, that he should reduce to practice some part of his admirable speculation in science, and by accommodating the theoretic truth to sensation and ordinary use, bring it more within the appreciation of people in general. Eudoxus and Archytas had been the first originators of this far-famed and highly-prized art of mechanics, which they employed as an elegant illustration of geometrical truths, and as means of sustaining experimentally, to the satisfaction of the senses, conclusions too intricate for proof by words and diagrams. As, for example, to solve the problem, so often required in constructing geometrical figures, given the two extremes, to find the two mean lines of a proportion, both these mathematicians had recourse to the aid of instruments, adapting to their purpose certain curves and sections of lines. But what with Plato’s indignation at it, and his invectives against it as the mere corruption and annihilation of the one good of geometry,—which was thus shamefully turning its back upon the unembodied objects of pure intelligence to recur to sensation, and to ask help (not to be obtained without base supervisions and depravation) from matter; so it was that mechanics came to be separated from geometry, and, repudiated and neglected by philosophers, took its place as a military art.
To Nature nothing can be added; from Nature nothing can be taken away; the sum of her energies is constant, and the utmost man can do in the pursuit of physical truth, or in the applications of physical knowledge, is to shift the constituents of the never-varying total. The law of conservation rigidly excludes both creation and annihilation. Waves may change to ripples, and ripples to waves; magnitude may be substituted for number, and number for magnitude; asteroids may aggregate to suns, suns may resolve themselves into florae and faunae, and floras and faunas melt in air: the flux of power is eternally the same. It rolls in music through the ages, and all terrestrial energy—the manifestations of life as well as the display of phenomena—are but the modulations of its rhythm.