“The quantitative investigations of Black on the burning of lime and magnesia alba, in which the balance (previously characterized by the French chemist Jean Rey as "an instrument for clowns") was applied at every turn, led to the rejection of a hypothetical "principle of causticity," and replaced it by a "sensible ingredient of a sensible body," fixed air.”

— J. R. Partington

Introduction
Higher Mathematics for Chemical Students (1911)

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J. R. Partington 38

British chemist 1886–1965

Athenaeus book Deipnosophistae

VII, 11. Compare: "I look upon it, that he who does not mind his belly will hardly mind anything else", Samuel Johnson, in Life of Johnson (Boswell). 29 Vol. ii. Chap. ix. 1763.
Deipnosophistae (2nd century)

“Art today is a new kind of instrument, an instrument for modifying consciousness and organizing new modes of sensibility.”

Susan Sontag (1933–2004) American writer and filmmaker, professor, and activist

"One culture and the new sensibility", p. 296
Against Interpretation and Other Essays (1966)
Context: Art today is a new kind of instrument, an instrument for modifying consciousness and organizing new modes of sensibility. And the means for practicing art have been radically extended.... Painters no longer feel themselves confined to canvas and paint, but employ hair, photographs, wax, sand, bicycle tires, their own toothbrushes and socks. Musicians have reached beyond the sounds of the traditional instruments to use tampered instruments and (usually on tape) synthetic sounds and industrial noises.

“The extension of Black's method by the physicist Lavoisier led to the downfall of the purely qualitative theory of phlogiston, and gave to chemistry the true methods of investigation, and its first great quantitative law—the law of conservation of matter.”

J. R. Partington (1886–1965) British chemist

J. R. Partington, Higher Mathematics for Chemical Students (1911)

“The mathematician speculates the causes of a certain sensible effect, without considering its actual existence; for the contemplation of universals excludes the knowledge of particulars; and he whose intellectual eye is fixed on that which is general and comprehensive, will think but little of that which is sensible and singular.”

Proclus (412–485) Greek philosopher

"A Dissertation on the Doctrine of Ideas, &c."
The Philosophical and Mathematical Commentaries of Proclus on the First Book of Euclid's Elements Vol. 1 (1788)

“The intellect had rejected the rational basis of belief, yet the imagination & sensibility yearn for simple faith.”

Vernon Scannell (1922–2007) British boxer and poet

A Proper Gentleman, 1977

“There’s a fine line between sensible emotional restraint, and the withdrawal symptoms of a stimulus junkie denied her fix.”

Larry Niven book Dream Park

Source: Dream Park (1981), Chapter 2, “A Stroll Through Old Los Angeles” (p. 13)

“The aim of every authentic artist is not to conform to the history of art but to release himself from it, in order to replace it with his own history. However the historical pattern is drawn, it will not fit the developing sensibility of the individual.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art on the Edge, (1975), pp. 64-65, "Olitski, Kelly, Hamilton: Dogma and Talent"

“Sensible painting, like sensible law, sensible writing, or sensible anything else, consists as much in knowing what to omit as what to insist upon.”

Samuel Butler (1835–1902) novelist

Detail
The Note-Books of Samuel Butler (1912), Part IX - A Painter's Views on Painting
Context: One reason why it is as well not to give very much detail is that, no matter how much is given, the eye will always want more; it will know very well that it is not being paid in full. On the other hand, no matter how little one gives, the eye will generally compromise by wanting only a little more. In either case the eye will want more, so one may as well stop sooner or later. Sensible painting, like sensible law, sensible writing, or sensible anything else, consists as much in knowing what to omit as what to insist upon.

“With regard to lime we must be careful that it is burned from a stone which”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book II, Chapter V "Lime" Sec. 1
Context: With regard to lime we must be careful that it is burned from a stone which, whether soft or hard, is in any case white. Lime made of close-grained stone of the harder sort will be good in structural parts; lime of porous stone, in stucco. After slaking it, mix your mortar, if using pitsand, in the proportions of three parts of sand to one of lime; if using river or sea-sand, mix two parts of sand with one of lime. These will be the right proportions for the composition of the mixture. Further, in using river or sea-sand, the addition of a third part composed of burnt brick, pounded up and sifted, will make your mortar of a better composition to use.

“You cannot trick me into applying my principles to a hypothetical situation which will only work out the way that you want it to. Not when I am certain that it will not arise.”

Roger Zelazny (1937–1995) American speculative fiction writer

Source: Short fiction, Home is the Hangman (1975), p. 138

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J. R. Partington 38

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