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Drawings Quotes

Question: Explain how to determine the time of vibration of a given tuning-fork, and state what apparatus you would require for the purpose.
Answer: For this determination I should require an accurate watch beating seconds, and a sensitive ear. I mount the fork on a suitable stand, and then, as the second hand of my watch passes the figure 60 on the dial, I draw the bow neatly across one of its prongs. I wait. I listen intently. The throbbing air particles are receiving the pulsations; the beating prongs are giving up their original force; and slowly yet surely the sound dies away. Still I can hear it, but faintly and with close attention; and now only by pressing the bones of my head against its prongs. Finally the last trace disappears. I look at the time and leave the room, having determined the time of vibration of the common “pitch” fork. This process deteriorates the fork considerably, hence a different operation must be performed on a fork which is only lent.
Genuine student answer* to an Acoustics, Light and Heat paper (1880), Science and Art Department, South Kensington, London, collected by Prof. Oliver Lodge. Quoted in Henry B. Wheatley, Literary Blunders (1893), 176-7, Question 4. (*From a collection in which Answers are not given verbatim et literatim, and some instances may combine several students' blunders.)
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Question: What is the difference between a “real” and a “virtual” image? Give a drawing showing the formation of one of each kind.
Answer: You see a real image every morning when you shave. You do not see virtual images at all. The only people who see virtual images are those people who are not quite right, like Mrs. A. Virtual images are things which don't exist. I can't give you a reliable drawing of a virtual image, because I never saw one.
Genuine student answer* to an Acoustics, Light and Heat paper (1880), Science and Art Department, South Kensington, London, collected by Prof. Oliver Lodge. Quoted in Henry B. Wheatley, Literary Blunders (1893), 177-8, Question 6. (*From a collection in which Answers are not given verbatim et literatim, and some instances may combine several students' blunders.)
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About 6 or 8 years ago My Ingenious friend Mr John Robinson having [contrived] conceived that a fire engine might be made without a Lever—by Inverting the Cylinder & placing it above the mouth of the pit proposed to me to make a model of it which was set about by having never Compleated & I [being] having at that time Ignorant little knoledge of the machine however I always thought the Machine Might be applied to [more] other as valuable purposes [than] as drawing Water.
Entry in notebook (1765). The bracketed words in square brackets were crossed out by Watt. in Eric Robinson and Douglas McKie (eds.), Partners in Science: Letters of James Watt and Joseph Black (1970), 434.
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As a boy I had liked both drawing and physics, and I always abhorred the role of being a spectator. In 1908, when I was 15, I designed, built and flew a toy model airplane which won the then-famous James Gordon Bennett Cup. By 16 I had discovered that design could be fun and profitable, and this lesson has never been lost on me.
On the official Raymond Loewry website.
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But the strong base and building of my love
Is as the very centre of the earth,
Drawing all things to 't.
Character Cressidus to Pandarus in play Troilus and Cressida (c.1601), Act 4, lines 200-202. In Troilus and Cressida (1811), 92.
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Descriptive geometry has two objects: the first is to establish methods to represent on drawing paper which has only two dimensions,—namely, length and width,—all solids of nature which have three dimensions,—length, width, and depth,—provided, however, that these solids are capable of rigorous definition.
The second object is to furnish means to recognize accordingly an exact description of the forms of solids and to derive thereby all truths which result from their forms and their respective positions.
From On the Purpose of Descriptive Geometry as translated by Arnold Emch in David Eugene Smith, A Source Book in Mathematics (1929), 426.
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Hunting, fishing, drawing, and music occupied my every moment. ... Cares I knew not, and cared naught about them.
[Recalling his time spent at his father's property, Mill Grove, during his first visit to America.]
In John James Audubon and Lucy Audubon (editor), The Life of John James Audubon: the Naturalist (1869), 17.
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It is not enough to say that we cannot know or judge because all the information is not in. The process of gathering knowledge does not lead to knowing. A child's world spreads only a little beyond his understanding while that of a great scientist thrusts outward immeasurably. An answer is invariably the parent of a great family of new questions. So we draw worlds and fit them like tracings against the world about us, and crumple them when we find they do not fit and draw new ones.
In John Steinbeck and Edward Flanders Ricketts, Sea of Cortez: a Leisurely Journal of Travel and Research (1941), 165-66.
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It is sometimes well for a blatant error to draw attention to overmodest truths.
Pensées d'un Biologiste (1939). Translated in The Substance of Man (1962), 89.
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Many errors, of a truth, consist merely in the application of the wrong names of things. For if a man says that the lines which are drawn from the centre of the circle to the circumference are not equal, he understands by the circle, at all events for the time, something else than mathematicians understand by it.
In 'Prop. 47: The human mind possesses an adequate knowledge of the eternal and infinite essence of God', Ethic, translated by William Hale White (1883), 93-94. Collected in The English and Foreign Philosophical Library, Vol. 21.
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My picture of the world is drawn in perspective and not like a model to scale. The foreground is occupied by human beings and the stars are all as small as three-penny bits. I don't really believe in astronomy, except as a complicated description of part of the course of human and possibly animal sensation. I apply my perspective not merely to space but also to time. In time the world will cool and everything will die; but that is a long time off still and its present value at compound discount is almost nothing.
From a paper read to the Apostles, a Cambridge discussion society (1925). In 'The Foundations of Mathematics' (1925), collected in Frank Plumpton Ramsey and D.H. Mellor (ed.), Philosophical Papers (1990), Epilogue, 249. Citation to the paper, in Nils-Eric Sahlin, The Philosophy of F.P. Ramsey (1990), 225.
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One rarely hears of the mathematical recitation as a preparation for public speaking. Yet mathematics shares with these studies [foreign languages, drawing and natural science] their advantages, and has another in a higher degree than either of them.
Most readers will agree that a prime requisite for healthful experience in public speaking is that the attention of the speaker and hearers alike be drawn wholly away from the speaker and concentrated upon the thought. In perhaps no other classroom is this so easy as in the mathematical, where the close reasoning, the rigorous demonstration, the tracing of necessary conclusions from given hypotheses, commands and secures the entire mental power of the student who is explaining, and of his classmates. In what other circumstances do students feel so instinctively that manner counts for so little and mind for so much? In what other circumstances, therefore, is a simple, unaffected, easy, graceful manner so naturally and so healthfully cultivated? Mannerisms that are mere affectation or the result of bad literary habit recede to the background and finally disappear, while those peculiarities that are the expression of personality and are inseparable from its activity continually develop, where the student frequently presents, to an audience of his intellectual peers, a connected train of reasoning. …
One would almost wish that our institutions of the science and art of public speaking would put over their doors the motto that Plato had over the entrance to his school of philosophy: “Let no one who is unacquainted with geometry enter here.”
In A Scrap-book of Elementary Mathematics: Notes, Recreations, Essays (1908), 210-211.
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Reproduction anywhere in the world of photographic pictures and all kinds of drawings or records.
One of 12 visionary goals listed in Brochure (1900) on his 'World System of Wireless Transmission', In Arthur J. Beckhard, Electrical Genius Nikola Tesla (1959), 176. Webmaster note: Tesla was years ahead of his time predicting possibilities of radio.
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The essential fact is simply that all the pictures which science now draws of nature, and which alone seem capable of according with observational facts, are mathematical pictures. … It can hardly be disputed that nature and our conscious mathematical minds work according to the same laws.
In The Mysterious Universe (1930, 1932), 149 & 162.
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The principles of Geology like those of geometry must begin at a point, through two or more of which the Geometrician draws a line and by thus proceeding from point to point, and from line to line, he constructs a map, and so proceeding from local to gen maps, and finally to a map of the world. Geometricians founded the science of Geography, on which is based that of Geology.
Abstract View of Geology, page proofs of unpublished work, Department of Geology, University of Oxford, 1.
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There are many arts and sciences of which a miner should not be ignorant. First there is Philosophy, that he may discern the origin, cause, and nature of subterranean things; for then he will be able to dig out the veins easily and advantageously, and to obtain more abundant results from his mining. Secondly there is Medicine, that he may be able to look after his diggers and other workman ... Thirdly follows astronomy, that he may know the divisions of the heavens and from them judge the directions of the veins. Fourthly, there is the science of Surveying that he may be able to estimate how deep a shaft should be sunk … Fifthly, his knowledge of Arithmetical Science should be such that he may calculate the cost to be incurred in the machinery and the working of the mine. Sixthly, his learning must comprise Architecture, that he himself may construct the various machines and timber work required underground … Next, he must have knowledge of Drawing, that he can draw plans of his machinery. Lastly, there is the Law, especially that dealing with metals, that he may claim his own rights, that he may undertake the duty of giving others his opinion on legal matters, that he may not take another man’s property and so make trouble for himself, and that he may fulfil his obligations to others according to the law.
In De Re Metallica (1556), trans. H.C. and L.H. Hoover (1950), 3-4.
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Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts.
In The Elements of Style (1918).
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What is the shape of space? Is it flat, or is it bent? Is it nicely laid out, or is it warped and shrunken? Is it finite, or is it infinite? Which of the following does space resemble more: (a) a sheet of paper, (b) an endless desert, (c) a soap bubble, (d) a doughnut, (e) an Escher drawing, (f) an ice cream cone, (g) the branches of a tree, or (h) a human body?
The Fourth Dimension: And How to Get There (1985), 91.
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When I undertake the dissection of a human cadaver I pass a stout rope tied like a noose beneath the lower jaw and through the two zygomas up to the top of the head, either more toward the forehead or more toward the occiput according as I want the cadaver to hang with its head up or down. The longer end of the noose I run through a pulley fixed to a beam in the room so that I may raise or lower the cadaver as it hangs there or may turn it round in any direction to suit my purpose; and should I so wish I can allow it to recline at an angle upon a table, since a table can easily be placed underneath the pulley. This is how the cadaver was suspended for drawing all the muscle tables... though while that one was being drawn the rope was passed around the occiput so as to show the muscles in the neck. If the lower jaw has been removed in the course of dissection, or the zygomas have been broken, the hollows for the temporal muscles will nonetheless hold the noose sufficiently firmly. You must take care not to put the noose around the neck, unless some of the muscles connected to the occipital bone have already been cut away. It is best to suspend the cadaver like this because a human body lying on a table is very difficult to turn over on to its chest or its back.
From De Humani Corporis Fabrica Libri Septem (1543), Book II, 268, as translated by William Frank Richardson and John Burd Carman, in 'How the Cadaver Can Be Held Erect While These Muscles are Dissected', On The Fabric of the Human Body: Book II: The Ligaments and Muscles (1998), 234.
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Who would not have been laughed at if he had said in 1800 that metals could be extracted from their ores by electricity or that portraits could be drawn by chemistry.
[Commenting on Becquerel’s process for extracting metals by voltaic means.]
Letter (20 Aug 1847), The Letters of Faraday and Schoenbein, 1836-1862 (1899), footnote, 209.
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[Edward Teller is a conceptual thinker,] an ‘order of magnitude’ man. That’s his language. He’s like the architect who likes to make the big drawing, the broad sketch, and not worry himself about the plumbing details.
As quoted in Robert Coughlan, 'Dr. Edward Teller’s Magnificent Obsession', Life (6 Sep 1954), 62.
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Carl Sagan Thumbnail In science it often happens that scientists say, 'You know that's a really good argument; my position is mistaken,' and then they would actually change their minds and you never hear that old view from them again. They really do it. It doesn't happen as often as it should, because scientists are human and change is sometimes painful. But it happens every day. I cannot recall the last time something like that happened in politics or religion. (1987) -- Carl Sagan
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