Sensuous Quotes (5 quotes)
Atoms and molecules … from their very nature can never be made the objects of sensuous contemplation.
In Ernst Mach and Thomas J. McCormack (trans.), 'Space and Geometry from the Point of View of Physical Inquiry', Space and Geometry in the Light of Physiological, Psychological and Physical Inquiry (1906), 138. Originally written as an article for The Monist (1 Oct 1903), 14, No. 1, Mach believed the realm of science should include only phenomena directly observable by the senses, and rejected theories of unseeable atomic orbitals.
If I were a physician I would try my patients thus. I would wheel them to a window and let Nature feel their pulse. It will soon appear if their sensuous existence is sound. The sounds are but the throbbing of some pulse in me.
(26 Feb 1841). In Henry David Thoreau and Bradford Torrey (ed.), The Writings of Henry Thoreau: Journal: I: 1837-1846 (1906), 224.
It [mathematics] is in the inner world of pure thought, where all entia dwell, where is every type of order and manner of correlation and variety of relationship, it is in this infinite ensemble of eternal verities whence, if there be one cosmos or many of them, each derives its character and mode of being,—it is there that the spirit of mathesis has its home and its life.
Is it a restricted home, a narrow life, static and cold and grey with logic, without artistic interest, devoid of emotion and mood and sentiment? That world, it is true, is not a world of solar light, not clad in the colours that liven and glorify the things of sense, but it is an illuminated world, and over it all and everywhere throughout are hues and tints transcending sense, painted there by radiant pencils of psychic light, the light in which it lies. It is a silent world, and, nevertheless, in respect to the highest principle of art—the interpenetration of content and form, the perfect fusion of mode and meaning—it even surpasses music. In a sense, it is a static world, but so, too, are the worlds of the sculptor and the architect. The figures, however, which reason constructs and the mathematic vision beholds, transcend the temple and the statue, alike in simplicity and in intricacy, in delicacy and in grace, in symmetry and in poise. Not only are this home and this life thus rich in aesthetic interests, really controlled and sustained by motives of a sublimed and supersensuous art, but the religious aspiration, too, finds there, especially in the beautiful doctrine of invariants, the most perfect symbols of what it seeks—the changeless in the midst of change, abiding things hi a world of flux, configurations that remain the same despite the swirl and stress of countless hosts of curious transformations.
Is it a restricted home, a narrow life, static and cold and grey with logic, without artistic interest, devoid of emotion and mood and sentiment? That world, it is true, is not a world of solar light, not clad in the colours that liven and glorify the things of sense, but it is an illuminated world, and over it all and everywhere throughout are hues and tints transcending sense, painted there by radiant pencils of psychic light, the light in which it lies. It is a silent world, and, nevertheless, in respect to the highest principle of art—the interpenetration of content and form, the perfect fusion of mode and meaning—it even surpasses music. In a sense, it is a static world, but so, too, are the worlds of the sculptor and the architect. The figures, however, which reason constructs and the mathematic vision beholds, transcend the temple and the statue, alike in simplicity and in intricacy, in delicacy and in grace, in symmetry and in poise. Not only are this home and this life thus rich in aesthetic interests, really controlled and sustained by motives of a sublimed and supersensuous art, but the religious aspiration, too, finds there, especially in the beautiful doctrine of invariants, the most perfect symbols of what it seeks—the changeless in the midst of change, abiding things hi a world of flux, configurations that remain the same despite the swirl and stress of countless hosts of curious transformations.
In 'The Universe and Beyond', Hibbert Journal (1904-1906), 3, 314.
Mathematics is, as it were, a sensuous logic, and relates to philosophy as do the arts, music, and plastic art to poetry.
Aphorism 365 from Selected Aphorisms from the Lyceum (1797-1800). In Friedrich Schlegel, translated by Ernst Behler and Roman Struc, Dialogue on Poetry and Literary Aphorisms (trans. 1968), 147.
When one talked with M. Hermite, he never evoked a sensuous image, and yet you soon perceived that the most abstract entities were for him like living beings.
From La Valeur de la Science (1904), 32, as translated by George Bruce Halsted (trans.), in The Value of Science (1907), 24. From the French, “Quand on causait avec M. Hermite; jamais il n’évoquait une image sensible, et pourtant vous vous aperceviez bientôt que les entités les plus abstraites étaient, pour lui comme des êtres vivants.” Also as epigraph, “Talk with M. Hermite. He never evokes a concrete image, yet you soon perceive that the more abstract entities are to him like living creatures”, in Eric Temple Bell, Men of Mathematics, (1937), 448.
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) -- 
