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Sound Quotes (38 quotes)

...for the animals, which we resemble and which would be our equals if we did not have reason, do not reflect upon the actions or the passions of their external or internal senses, and do not know what is color, odor or sound, or if there is any differences between these objects, to which they are moved rather than moving themselves there. This comes about by the force of the impression that the different objects make on their organs and on their senses, for they cannot discern if it is more appropriate to go and drink or eat or do something else, and they do not eat or drink or do anything else except when the presence of objects or the animal imagination [l'imagination brutalle], necessitates them and transports them to their objects, without their knowing what they do, whether good or bad; which would happen to us just as to them if we were destitute of reason, for they have no enlightenment except what they must have to take their nourishment and to serve us for the uses to which God has destined them.
[Arguing the uniqueness of man by regarding animals to be merely automatons.].
Les Préludes de l'Harmonie Universelle (1634), 135-139. In Charles Coulston Gillespie (ed.), Dictionary of Scientific Biography (1974), Vol. 9, 318.
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Boss: I just heard that light travels faster than sound. I'm wondering if I should shout when I speak, just so my lips appear to sync-up with my words.
Dilbert (thought): A little knowledge can be a ridiculous thing.
Dilbert comic strip (10 Sep 1992).
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Dilbert: It took weeks but I’ve calculated a new theory about the origin of the universe. According to my calculations it didn’t start with a “Big Bang” at all—it was more of “Phhbwt” sound. You may be wondering about the practical applications of the “Little Phhbwt” theory.
Dogbert: I was wondering when you’ll go away.
Dilbert comic strip (1 Jan 1993)
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Question: A hollow indiarubber ball full of air is suspended on one arm of a balance and weighed in air. The whole is then covered by the receiver of an air pump. Explain what will happen as the air in the receiver is exhausted.
Answer: The ball would expand and entirely fill the vessell, driving out all before it. The balance being of greater density than the rest would be the last to go, but in the end its inertia would be overcome and all would be expelled, and there would be a perfect vacuum. The ball would then burst, but you would not be aware of the fact on account of the loudness of a sound varying with the density of the place in which it is generated, and not on that in which it is heard.
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), 181, Question 21. (*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: 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: If you walk on a dry path between two walls a few feet apart, you hear a musical note or “ring” at each footstep. Whence comes this?
Answer: This is similar to phosphorescent paint. Once any sound gets between two parallel reflectors or walls, it bounds from one to the other and never stops for a long time. Hence it is persistent, and when you walk between the walls you hear the sounds made by those who walked there before you. By following a muffin man down the passage within a short time you can hear most distinctly a musical note, or, as it is more properly termed in the question, a “ring” at every (other) step.
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), 175-6, Question 2. (*From a collection in which Answers are not given verbatim et literatim, and some instances may combine several students' blunders.)
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Again, it [the Analytical Engine] might act upon other things besides number, were objects found whose mutual fundamental relations could be expressed by those of the abstract science of operations, and which should be also susceptible of adaptations to the action of the operating notation and mechanism of the engine. Supposing for instance, that the fundamental relations of pitched sounds in the science of harmony and of musical composition were susceptible of such expression and adaptations, the engine might compose elaborate and scientific pieces of music of any degree of complexity or extent.
In Richard Taylor (ed.), 'Translator’s Notes to M. Menabrea’s Memoir', Scientific Memoirs, Selected from the Transactions of Foreign Academies and Learned Societies and from Foreign Journals (1843), 3, Note A, 694. Her notes were appended to L.F. Menabrea, of Turin, Officer of the Military Engineers, 'Article XXIX: Sketch of the Analytical Engine invented by Charles Babbage Esq.', Bibliothèque Universelle de Gnve (Oct 1842), No. 82.
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As great Pythagoras of yore,
Standing beside the blacksmith’s door,
And hearing the hammers, as they smote
The anvils with a different note,
Stole from the varying tones, that hung
Vibrant on every iron tongue,
The secret of the sounding wire.
And formed the seven-chorded lyre.
From poem 'Evangeline: A Tale of Acadie' (1847), as collected in The Poetical Works of H.W. Longfellow (1855), 132.
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Be not afeard.
The isle is full of noises,
Sounds, and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears; and sometime voices
That if I then had waked after long sleep
Will make me sleep again; and then, in dreaming
The clouds methought would open and show riches
Ready to drop upon me, that, when I waked,
I cried to dream again.
The Tempest (1611), III, ii.
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Because words pass away as soon as they strike upon the air, and last no longer than their sound, men have by means of letters formed signs of words. Thus the sounds of the voice are made visible to the eye, not of course as sounds, but by means of certain signs.
In 'Origin of Writing', Christian Doctrine, Book 2, as translated by J.F. Shaw, collected in A Select Library of the Nicene and Post-Nicene Fathers of the Christian Church: Volume II: St. Augustin’s City of God and Christian Doctrine (1907), 536.
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Chemistry without catalysis, would be a sword without a handle, a light without brilliance, a bell without sound.
R. B. Desper, 'Alwin Mittasch', Journal of Chemlca1 Education (1948), 25, 531-2.
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Examine Language; what, if you except some few primitive elements (of natural sound), what is it all but Metaphors, recognized as such, or no longer recognized?
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Fractals are patterns which occur on many levels. This concept can be applied to any musical parameter. I make melodic fractals, where the pitches of a theme I dream up are used to determine a melodic shape on several levels, in space and time. I make rhythmic fractals, where a set of durations associated with a motive get stretched and compressed and maybe layered on top of each other. I make loudness fractals, where the characteristic loudness of a sound, its envelope shape, is found on several time scales. I even make fractals with the form of a piece, its instrumentation, density, range, and so on. Here I’ve separated the parameters of music, but in a real piece, all of these things are combined, so you might call it a fractal of fractals.
Interview (1999) on The Discovery Channel. As quoted by Benoit B. Manelbrot and Richard Hudson in The (Mis)Behaviour of Markets: A Fractal View of Risk, Ruin and Reward (2010), 133.
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Here I most violently want you to
Avoid one fearful error, a vicious flaw.
Don't think that our bright eyes were made that we
Might look ahead; that hips and knees and ankles
So intricately bend that we might take
Big strides, and the arms are strapped to the sturdy shoulders
And hands are given for servants to each side
That we might use them to support our lives.
All other explanations of this sort
Are twisted, topsy-turvy logic, for
Nothing what is born produces its own use.
Sight was not born before the light of the eyes,
Nor were words and pleas created before the tongue
Rather the tongue's appearance long preceded
Speech, and the ears were formed far earlier than
The sound first heard. To sum up, all the members Existed, I should think, before their use, So use has not caused them to have grown.
On the Nature of Things, trans. Anthony M. Esolen (1995), Book 4, lines 820-8, 145.
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I do not think words alone will solve humanity’s present problems. The sound of bombs drowns out men’s voices. In times of peace I have great faith in the communication of ideas among thinking men, but today, with brute force dominating so many millions of lives, I fear that the appeal to man’s intellect is fast becoming virtually meaningless.
In 'I Am an American' (22 Jun 1940), Einstein Archives 29-092. Excerpted in David E. Rowe and Robert J. Schulmann, Einstein on Politics: His Private Thoughts and Public Stands on Nationalism, Zionism, War, Peace, and the Bomb (2007), 470. It was during a radio broadcast for the Immigration and Naturalization Service, interviewed by a State Department Official. Einstein spoke following an examination on his application for American citizenship in Trenton, New Jersey. The attack on Pearl Harbor and America’s declaration of war on Japan was still over a year in the future.
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I need scarcely say that the beginning and maintenance of life on earth is absolutely and infinitely beyond the range of sound speculation in dynamical science.
In lecture, 'The Sun's Heat' delivered to the Friday Evening Discourse in Physical Science at the Royal Institution in London. Collected in Popular Lectures and Addresses (1889), Vol. 1, 415.
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I shall never forget my first encounter with gorillas. Sound preceded sight. Odor preceded sound in the form of an overwhelming, musky-barnyard, humanlike scent. The air was suddenly rent by a high-pitched series of screams followed by the rhythmic rondo of sharp pok-pok chestbeats from a great silverbacked male obscured behind what seemed an impenetrable wall of vegetation.
Describing her 1963 trip to Kabara in Gorillas in the Mist (1983), 3. (The screams and chest-beating were of alarm, not ferocity.)
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I stand in favor of using seeds and products that have a proven track record. … There is a big gap between what the facts are, and what the perceptions are. … I mean “genetically modified” sounds Frankensteinish. Drought-resistant sounds really like something you’d want.
Speech at Biotechnology Industry Organization (BIO) convention, San Diego (Jun 2014). Audio on AgWired website.
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I would clarify that by ‘animal’ I understand a being that has feeling and that is capable of exercising life functions through a principle called soul; that the soul uses the body's organs, which are true machines, by virtue of its being the principal cause of the action of each of the machine's parts; and that although the placement that these parts have with respect to one another does scarcely anything else through the soul's mediation than what it does in pure machines, the entire machine nonetheless needs to be activated and guided by the soul in the same way as an organ, which, although capable of rendering different sounds through the placement of the parts of which it is composed, nonetheless never does so except through the guidance of the organist.
'La Mechanique des Animaux', in Oeuvres Diverses de Physique et de Mechanique (1721), Vol. 1, 329. Quoted in Jacques Roger, Keith R. Benson (ed.), Robert Ellrich (trans.), The Life Sciences in Eighteenth-Century French Thought, (1997), 273-4.
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It is agreed that all sound which is the material of music is of three sorts. First is harmonica, which consists of vocal music; second is organica, which is formed from the breath; third is rhythmica, which receives its numbers from the beat of the fingers. For sound is produced either by the voice, coming through the throat; or by the breath, coming through the trumpet or tibia, for example; or by touch, as in the case of the cithara or anything else that gives a tuneful sound on being struck.
Etymologies [c.600], Book III, chapter 19, quoted in E. Grant (ed.), A Source Book in Medieval Science (1974), trans. E. Brehaut (1912), revised by E. Grant, 10.
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Listen now for the sound that forevermore separates the old from the new.
[Introducing the beep-beep chirp transmitted by the Sputnik satellite.]
NBC Radio
NBC radio announcer on the night of 4 Oct 1957. In 'The Nation: Red Moon Over the U.S.', Time (14 Oct 1957), 70, 27.
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O truth of the earth! O truth of things! I am determin’d to press my way toward you;
Sound your voice! I scale mountains, or dive in the sea after you.
In poem, 'Great are the Myths', Leaves of Grass (1867), 292.
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Positivism is a theory of knowledge according to which the only kind of sound knowledge available to human kind is that if science grounded in observation.
(1891). As given as an epigraph in M.J. Vinod and Meena Deshpande, Contemporary Political Theory (2013), 3.
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Scientists wrote beautifully through the 19th century and on into the early 20th. But somewhere after that, coincident with the explosive growth of research, the art of writing science suffered a grave setback, and the stultifying convention descended that the best scientific prose should sound like a non-human author addressing a mechanical reader.
In Boojums All the Way Through: Communicating Science in a Prosaic Age (1990), Preface, xii.
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Sound travels farthest as music; the most telling form of truth is poetry.
From chapter 'Jottings from a Note-book', in Canadian Stories (1918), 167.
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Sound … cannot travel across what we call a vacuum. … Light and our eyes that see it deal with the doings of the whole universe; sound belongs to the world only. I may talk of the universe of light, but I can only talk of the world of sound.
In The World of Sound (1921), 10.
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The Qualities then that are in Bodies rightly considered, are of Three sorts.
First, the Bulk, Figure, Number, Situation, and Motion, or Rest of their solid Parts; those are in them, whether we perceive them or no; and when they are of that size, that we can discover them, we have by these an Idea of the thing, as it is in it self, as is plain in artificial things. These I call primary Qualities.
Secondly, The Power that is in any Body, by Reason of its insensible primary Qualities, to operate after a peculiar manner on any of our Senses, and thereby produce in us the different Ideas of several Colours, Sounds, Smells, Tastes, etc. These are usually called sensible Qualities.
Thirdly, The Power that is in any Body, by Reason of the particular Constitution of its primary Qualities, to make such a change in the Bulk, Figure, Texture, and Motion of another Body, as to make it operate on our Senses, differently from what it did before. Thus the Sun has a Power to make Wax white, and Fire to make Lead fluid. These are usually called Powers.
An Essay Concerning Human Understanding (1690). Edited by Peter Nidditch (1975), Book 2, Chapter 8, Section 23, 140-1.
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The advance of science has enabled man to communicate at twice the speed of sound while he still acts at half the speed of sense.
Anonymous
In Evan Esar, 20,000 Quips & Quotes (1968, 1995), 159.
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The bells which toll for mankind are—most of them, anyway—like the bells of Alpine cattle; they are attached to our own necks, and it must be our fault if they do not make a cheerful and harmonious sound.
From sixth and last lecture in series of Reith Lectures titled 'The Future of Man' on BBC Home Service radio (1959). Text printed in the magazine, The Listener. Also collected in book form as The Future of Man. This was the concluding sentence of the last lecture.
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The cases of action at a distance are becoming, in a physical point of view, daily more and more important. Sound, light, electricity, magnetism, gravitation, present them as a series.
The nature of sound and its dependence on a medium we think we understand, pretty well. The nature of light as dependent on a medium is now very largely accepted. The presence of a medium in the phenomena of electricity and magnetism becomes more and more probable daily. We employ ourselves, and I think rightly, in endeavouring to elucidate the physical exercise of these forces, or their sets of antecedents and consequents, and surely no one can find fault with the labours which eminent men have entered upon in respect of light, or into which they may enter as regards electricity and magnetism. Then what is there about gravitation that should exclude it from consideration also? Newton did not shut out the physical view, but had evidently thought deeply of it; and if he thought of it, why should not we, in these advanced days, do so too?
Letter to E. Jones, 9 Jun 1857. In Michael Faraday, Bence Jones (ed.), The Life and Letters of Faraday (1870), Vol. 2, 387.
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The Earth Speaks, clearly, distinctly, and, in many of the realms of Nature, loudly, to William Jennings Bryan, but he fails to hear a single sound. The earth speaks from the remotest periods in its wonderful life history in the Archaeozoic Age, when it reveals only a few tissues of its primitive plants. Fifty million years ago it begins to speak as “the waters bring forth abundantly the moving creatures that hath life.” In successive eons of time the various kinds of animals leave their remains in the rocks which compose the deeper layers of the earth, and when the rocks are laid bare by wind, frost, and storm we find wondrous lines of ascent invariably following the principles of creative evolution, whereby the simpler and more lowly forms always precede the higher and more specialized forms.
The earth speaks not of a succession of distinct creations but of a continuous ascent, in which, as the millions of years roll by, increasing perfection of structure and beauty of form are found; out of the water-breathing fish arises the air-breathing amphibian; out of the land-living amphibian arises the land-living, air-breathing reptile, these two kinds of creeping things resembling each other closely. The earth speaks loudly and clearly of the ascent of the bird from one kind of reptile and of the mammal from another kind of reptile.
This is not perhaps the way Bryan would have made the animals, but this is the way God made them!
The Earth Speaks to Bryan (1925), 5-6. Osborn wrote this book in response to the Scopes Monkey Trial, where William Jennings Bryan spoke against the theory of evolution. They had previously been engaged in the controversy about the theory for several years. The title refers to a Biblical verse from the Book of Job (12:8), “Speak to the earth and it shall teach thee.”
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The first acquaintance which most people have with mathematics is through arithmetic. That two and two make four is usually taken as the type of a simple mathematical proposition which everyone will have heard of. … The first noticeable fact about arithmetic is that it applies to everything, to tastes and to sounds, to apples and to angels, to the ideas of the mind and to the bones of the body.
In An Introduction to Mathematics (1911), 9.
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The laws of light and of heat translate each other;—so do the laws of sound and colour; and so galvanism, electricity and magnetism are varied forms of this selfsame energy.
In 'Letters and Social Aims: Poetry and Imagination', Prose works of Ralph Waldo Emerson (1880), Vol. 3, 198.
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The universe seems to me infinitely strange and foreign. At such a moment I gaze upon it with a mixture of anguish and euphoria; separate from the universe, as though placed at a certain distance outside it; I look and I see pictures, creatures that move in a kind of timeless time and spaceless space, emitting sounds that are a kind of language I no longer understand or ever register.
‘Interviews: Brief Notes for Radio’, Notes and Counter-Notes: Writings on the Theatre (1964), 136.
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There is no such thing as a good nuclear weapons system. There is no way to achieve, in the sound sense, national security through nuclear weapons.
Quoted from interview (1983) in 'Herbert York dies at 87', L.A. Times (21 May 2009)
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Time is that which is measured by a clock. This is a sound way of looking at things. A quantity like time, or any other physical measurement, does not exist in a completely abstract way. We find no sense in talking about something unless we specify how we measure it. It is the definition by the method of measuring a quantity that is the one sure way of avoiding talking nonsense about this kind of thing.
From Relativity and Common Sense: A New Approach to Einstein (1980), 65.
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We need a name for the new replicator, a noun that conveys the idea of a unit of cultural transmission, or a unit of imitation. 'Mimeme' comes from a suitable Greek root, but I want a monosyllable that sounds a bit like 'gene'. I hope my classicist friends will forgive me if I abbreviate mimeme to meme. If it is any consolation, it could alternatively be thought of as being related to 'memory', or to the French word même. It should be pronounced to rhyme with 'cream'.
In The Selfish Gene (1976).
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With a tone control at a single touch
I can make Caruso sound like Hutch,
I never did care for music much—
It's the high fidelity!
A parody of the hi-fi addict. From lyrics of 'Song of Reproduction', in the Michael Flanders and Donald Swann revue, At the Drop of a Hat (1959). As quoted in Steven D. Lubar, InfoCulture: The Smithsonian Book of Information Age Inventions (1993), 186. “Hutch” was the popularly used name of Leslie Hutchinson (1900-1969), one of the biggest London cabaret entertainers of the 1920s-30s.
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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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