Theme Quotes (17 quotes)
La necessità è maestra e tutrice della natura; La necessità è tema e inventrice della natura e freno e regola eterna.
Necessity is the mistress and guide of nature. Necessity is the theme and the inventress, the eternal curb and law of nature.
Necessity is the mistress and guide of nature. Necessity is the theme and the inventress, the eternal curb and law of nature.
A science in its infancy is the least satisfactory, and, at the same time, the most profitable theme for a general description.
And shall an atom of this atom world
Mutter the theme of heaven?
Mutter the theme of heaven?
And, in this case, science could learn an important lesson from the literati–who love contingency for the same basic reason that scientists tend to regard the theme with suspicion. Because, in contingency lies the power of each person, to make a difference in an unconstrained world bristling with possibilities, and nudgeable by the smallest of unpredictable inputs into markedly different channels spelling either vast improvement or potential disaster.
Does it not seem as if Algebra had attained to the dignity of a fine art, in which the workman has a free hand to develop his conceptions, as in a musical theme or a subject for a painting? It has reached a point where every properly developed algebraical composition, like a skillful landscape, is expected to suggest the notion of an infinite distance lying beyond the limits of the canvas.
Every lecture should state one main point and repeat it over and over, like a theme with variations. An audience is like a herd of cows, moving slowly in the direction they are being driven towards. If we make one point, we have a good chance that the audience will take the right direction; if we make several points, then the cows will scatter all over the field. The audience will lose interest and everyone will go back to the thoughts they interrupted in order to come to our lecture.
Finally, to the theme of the respiratory chain, it is especially noteworthy that David Kellin's chemically simple view of the respiratory chain appears now to have been right all along–and he deserves great credit for having been so reluctant to become involved when the energy-rich chemical intermediates began to be so fashionable. This reminds me of the aphorism: 'The obscure we see eventually, the completely apparent takes longer'.
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.
He who wishes to explain Generation must take for his theme the organic body and its constituent parts, and philosophize about them; he must show how these parts originated, and how they came to be in that relation in which they stand to each other. But he who learns to know a thing not only from its phenomena, but also its reasons and causes; and who, therefore, not by the phenomena merely, but by these also, is compelled to say: “The thing must be so, and it cannot be otherwise; it is necessarily of such a character; it must have such qualities; it is impossible for it to possess others”—understands the thing not only historically but truly philosophically, and he has a philosophic knowledge of it. Our own Theory of Generation is to be such a philosphic comprehension of an organic body, a very different one from one merely historical. (1764)
I am not unmindful of the journalist’s quip that yesterday’s paper wraps today’s garbage. I am also not unmindful of the outrages visited upon our forests to publish redundant and incoherent collections of essays; for, like Dr. Seuss’ Lorax, I like to think that I speak for the trees. Beyond vanity, my only excuses for a collection of these essays lie in the observation that many people like (and as many people despise) them, and that they seem to cohere about a common theme–Darwin’s evolutionary perspective as an antidote to our cosmic arrogance.
Siphonophores do not convey the message–a favorite theme of unthinking romanticism–that nature is but one gigantic whole, all its parts intimately connected and interacting in some higher, ineffable harmony. Nature revels in boundaries and distinctions; we inhabit a universe of structure. But since our universe of structure has evolved historically, it must present us with fuzzy boundaries, where one kind of thing grades into another.
The ancients can still speak to us with authority, even on the themes of geology and chemistry, though these studies are thought to have had their birth in modern times.
The most successful men in the end are those whose success is the result of steady accretion. That intellectuality is more vigorous that has attained its strength gradually. It is the man who carefully advances step by step, with his mind becoming wider and wider—and progressively better able to grasp any theme or situation—persevering in what he knows to be practical, and concentrating his thought upon it, who is bound to succeed in the greatest degree.
The solution, as all thoughtful people recognize, must lie in properly melding the themes of inborn predisposition and shaping through life’s experiences. This fruitful joining cannot take the false form of percentages adding to 100–as in ‘intelligence is 80 percent nature and 20 percent nurture,’ or ‘homosexuality is 50 percent inborn and 50 percent learned,’ and a hundred other harmful statements in this foolish format. When two ends of such a spectrum are commingled, the result is not a separable amalgam (like shuffling two decks of cards with different backs), but an entirely new and higher entity that cannot be decomposed (just as adults cannot be separated into maternal and paternal contributions to their totality).
The young specialist in English Lit, having quoted me, went on to lecture me severely on the fact that in every century people have thought they understood the Universe at last, and in every century they were proved to be wrong. It follows that the one thing we can say about our modern “knowledge” is that it is wrong.
The young man then quoted with approval what Socrates had said on learning that the Delphic oracle had proclaimed him the wisest man in Greece. “If I am the wisest man,” said Socrates, “it is because I alone know that I know nothing.” The implication was that I was very foolish because I was under the impression I knew a great deal.
Alas, none of this was new to me. (There is very little that is new to me; I wish my correspondents would realize this.) This particular theme was addressed to me a quarter of a century ago by John Campbell, who specialized in irritating me. He also told me that all theories are proven wrong in time.
My answer to him was, “John, when people thought the Earth was flat, they were wrong. When people thought the Earth was spherical, they were wrong. But if you think that thinking the Earth is spherical is just as wrong as thinking the Earth is flat, then your view is wronger than both of them put together.”
The young man then quoted with approval what Socrates had said on learning that the Delphic oracle had proclaimed him the wisest man in Greece. “If I am the wisest man,” said Socrates, “it is because I alone know that I know nothing.” The implication was that I was very foolish because I was under the impression I knew a great deal.
Alas, none of this was new to me. (There is very little that is new to me; I wish my correspondents would realize this.) This particular theme was addressed to me a quarter of a century ago by John Campbell, who specialized in irritating me. He also told me that all theories are proven wrong in time.
My answer to him was, “John, when people thought the Earth was flat, they were wrong. When people thought the Earth was spherical, they were wrong. But if you think that thinking the Earth is spherical is just as wrong as thinking the Earth is flat, then your view is wronger than both of them put together.”
This theme of mutually invisible life at widely differing scales bears an important implication for the ‘culture wars’ that supposedly now envelop our universities and our intellectual discourse in general ... One side of this false dichotomy features the postmodern relativists who argue that all culturally bound modes of perception must be equally valid, and that no factual truth therefore exists. The other side includes the benighted, old-fashioned realists who insist that flies truly have two wings, and that Shakespeare really did mean what he thought he was saying. The principle of scaling provides a resolution for the false parts of this silly dichotomy. Facts are facts and cannot be denied by any rational being. (Often, facts are also not at all easy to determine or specify–but this question raises different issues for another time.) Facts, however, may also be highly scale dependent–and the perceptions of one world may have no validity or expression in the domain of another. The one-page map of Maine cannot recognize the separate boulders of Acadia, but both provide equally valid representations of a factual coastline.
Why may we not add Geology to the list of poetical sciences? Why shall not that science, which is the second science in eras and magnitudes, and the first, in affording scope for the imagination, be brought into favor with the Muses and afford themes for the Poet?