Quotes about detail
page 8

Friedrich Hayek photo

“The reasons why the adoption of a system of central planning necessarily produces a totalitarian system are fairly simple. Whoever controls the means must decide which ends they are to serve. As under modern conditions control of economic activity means control of the material means for practically all our ends, it means control over nearly all our activities. The nature of the detailed scale of values which must guide the planning makes it impossible that it should be determined by anything like democratic means. The director of the planned system would have to impose his scale of values, his hierarchy of ends, which, if it is to be sufficient to determine the plan, must include a definite order of rank in which the status of each person is laid down. If the plan is to succeed or the planner to appear successful, the people must be made to believe that the objectives chosen are the right ones. Every criticism of the plan or the ideology underlying it must be treated as sabotage. There can be no freedom of thought, no freedom of the Press, where it is necessary that everything should be governed by a single system of thought. In theory Socialism may wish to enhance freedom, but in practice every kind of collectivism consistently carried thought must produce the characteristic features which Fascism, Nazism, and Communism have in common. Totalitarianism is nothing but consistent collectivism, the ruthless execution of the principle that 'the whole comes before the individual' and the direction of all members of society by a single will supposed to represent the 'whole.”

Friedrich Hayek (1899–1992) Austrian and British economist and Nobel Prize for Economics laureate

" Planning, Science and Freedom http://www.nature.com/nature/journal/v148/n3759/abs/148580a0.html", Nature 148 (15 November 1941), also available as " Planning, Science, and Freedom https://mises.org/library/planning-science-and-freedom," Mises Daily (Auburn, AL: The Ludwig von Mises Institute, 27 September 2010)
1940s–1950s

E.L. Doctorow photo
Yvette Cooper photo

“I have to say, Mr. Deputy Speaker, the Ministers are like fraudsters in the fairy tale, telling gullible Liberal Democrat MPs about the beautiful progressive clothes that the emperor is wearing, if only they are clever enough and loyal enough to see them. And desperately, we have Liberal Democrats clinging to shreds of invisible cloth, reaching deep into their Liberal and Conservative history to pretend that they can be progressive now. They are claiming that Keynes might have backed the Budget. They are calling on Beveridge for support, kidding themselves that they can call on their history and that they are following in the footsteps of great liberal Conservatives like Winston Churchill, who supported the minimum wage, but the truth is that the emperor has no clothes.
The truth is that if you look at the detail, the Budget is nastier than any brought in by Margaret Thatcher. Instead of Churchill, Keynes or the founders of the welfare state, the Liberal Democrats have signed up, with the Right Honourable Member for Chingford and his Chancellor, to cut support for the poor. It is perhaps apt that in this week of World Cup disappointments, it was actually a footballer who got it right. In 2002, after England were defeated in the World Cup by Brazil, Gareth Southgate reflected ruefully on England's performance and said:
"We were expecting Winston Churchill and instead got Iain Duncan Smith."
That is the reality for the Liberal Democrats now. With all their high hopes, they have betrayed the poor and the vulnerable, whom they stood up to defend.
[The Minister of State, Department for Work and Pensions (Steve Webb) rose]
I will give way to the hon. Gentleman because I know he has a history of supporting people on low incomes and I do not know why he is betraying it now.”

Yvette Cooper (1969) British politician

During a budget response debate http://www.publications.parliament.uk/pa/cm201011/cmhansrd/cm100628/debtext/100628-0012.htm, 28 July, 2010. Link to the video http://www.youtube.com/watch?v=NtORBuxY0MU.

R. A. Lafferty photo

“It's always the details that get you in trouble.”

Rick Cook (1944) American writer

Wizardry Cursed

Walter Cronkite photo
Louis Pasteur photo
Vannevar Bush photo
H. D. Deve Gowda photo

“I went there and of course we invited the investors to come to India. So this is one of the companies to come to India {Ashok Kheny). He only signed Kheny MOU as a witness with bureaucrats to work out the details.”

H. D. Deve Gowda (1933) Indian politician

In the early nineties, he, who likes being called mannina maga (son of the soil), was persuaded by the then Prime Minister P. V. Narasimha Rao to attend the World Economic Forum, in Devos. According to Deve Gowda Rao wanted a non-Congress non-BJP chief minister to attend as a representative to encourage foreign investment. In 1996, a year after the MOU was signed, he became the PM of India for 10 months, heading a coalition of regional parties.
Source: The Newsmakers http://books.google.co.in/books?id=csVfAwAAQBAJ&pg=PT49, Random House India, 22 April 2014, p. 94

“Every new discovery in science brings with it a host of new problems, just as the invention of the automobile brought with it gas stations, roads, garages, mechanics, and a thousand other subsidiary details.”

Banesh Hoffmann (1906–1986) American mathematician and physicist

[Banesh Hoffmann, The strange story of the quantum: an account for the general reader of the growth of the ideas underlying our present atomic knowledge, Courier Dover Publications, 1959, 0486205185, 4]

Patrick Modiano photo
Hillary Clinton photo

“For 40 years, everyone running for president has released their tax returns. You can go and see nearly, I think, 39, 40 years of our tax returns, but everyone has done it. We know the IRS has made clear there is no prohibition on releasing it when you're under audit. So you've got to ask yourself, why won't he release his tax returns? And I think there may be a couple of reasons. First, maybe he's not as rich as he says he is. Second, maybe he's not as charitable as he claims to be. Third, we don't know all of his business dealings, but we have been told through investigative reporting that he owes about $650 million to Wall Street and foreign banks. Or maybe he doesn't want the American people, all of you watching tonight, to know that he's paid nothing in federal taxes, because the only years that anybody's ever seen were a couple of years when he had to turn them over to state authorities when he was trying to get a casino license, and they showed he didn't pay any federal income tax. So if he's paid zero, that means zero for troops, zero for vets, zero for schools or health. And I think probably he's not all that enthusiastic about having the rest of our country see what the real reasons are, because it must be something really important, even terrible, that he's trying to hide. And the financial disclosure statements, they don't give you the tax rate. They don't give you all the details that tax returns would. And it just seems to me that this is something that the American people deserve to see. And I have no reason to believe that he's ever going to release his tax returns, because there's something he's hiding.”

Hillary Clinton (1947) American politician, senator, Secretary of State, First Lady

Presidential campaign (April 12, 2015 – 2016), First presidential debate (September 26, 2016)

Joey Comeau photo
Francis S. Collins photo
Geert Wilders photo
Oswald Mosley photo
Jack Kerouac photo
Sören Kierkegaard photo
Ian McEwan photo

“Nearby, where the main road forked, stood an iron cross on a stone base. As the English couple watched, a mason was cutting in half a dozen fresh names. On the far side of the street, in the deep shadow of a doorway, a youngish woman in black was also watching. She was so pale they assumed at first she had some sort of wasting disease. She remained perfectly still, with one hand holding an edge of her headscarf so that it obscured her mouth. The mason seemed embarrassed and kept his back to her while he worked. After a quarter of an hour an old man in blue workman's clothes came shuffling along in carpet slippers and took her hand without a word and led her away. When the propriétaire came out he nodded at the other side of the street, at the empty space and murmured, 'Trois. Mari et deux frères,' as he set down their salads.This sombre incident remained with them as they struggled up the hill in the heat, heavy with lunch, towards the Bergerie de Tédenat. They stopped half way up in the shade of a stand of pines before a long stretch of open ground. Bernard was to remember this moment for the rest of his life. As they drank from their water bottles he was struck by the recently concluded war not as a historical, geopolitical fact but as a multiplicity, a near-infinity of private sorrows, as a boundless grief minutely subdivided without diminishment among individuals who covered the continent like dust, like spores whose separate identities would remain unknown, and whose totality showed more sadness than anyone could ever begin to comprehend; a weight borne in silence by hundreds of thousands, millions, like the woman in black for a husband and two brothers, each grief a particular, intricate, keening love story that might have been otherwise. It seemed as though he had never thought about the war before, not about its cost. He had been so busy with the details of his work, of doing it well, and his widest view had been of war aims, of winning, of statistical deaths, statistical destruction, and of post-war reconstruction. For the first time he sensed the scale of the catastrophe in terms of feeling; all those unique and solitary deaths, all that consequent sorrow, unique and solitary too, which had no place in conferences, headlines, history, and which had quietly retired to houses, kitchens, unshared beds, and anguished memories. This came upon Bernard by a pine tree in the Languedoc in 1946 not as an observation he could share with June but as a deep apprehension, a recognition of a truth that dismayed him into silence and, later, a question: what possible good could come of a Europe covered in this dust, these spores, when forgetting would be inhuman and dangerous, and remembering a constant torture?”

Page 164-165.
Black Dogs (1992)

Asger Jorn photo
Ragnar Frisch photo
Donald Rumsfeld photo

“I'm not into this detail stuff. I'm more concepty.”

Donald Rumsfeld (1932) U.S. Secretary of Defense

Interview with the Washington Post (9 January 2002) http://www.defenselink.mil/transcripts/2002/t02052002_t0109wp.html
2000s

Gerald Durrell photo
David Mitchell photo
Jean-Marie Le Pen photo
André Gernez photo
Brian Clevinger photo
John S. Bell photo
Paula Modersohn-Becker photo
Gabriele Münter photo
Vox Day photo

“I am a Christian who wrote a novel in a specific literary tradition. I did not approach the process as a representative of modern evangelical culture, hoping to collect a few crumbs fallen from the medieval feast described in excruciatingly painstaking detail on the secular table, but as one of the legitimate heirs to the literary kingdom who is castigating the usurpers.”

Vox Day (1968) writer, actor, video game designer, blogger, far-right activist

On The ‘Throne Of Bones’: A Q and A With Vox Day http://speculativefaith.lorehaven.com/on-the-throne-of-bones-a-q-and-a-with-vox-day/ (January 18, 2013)

Tim Cook photo

“The privacy thing has gotten totally out of control. I think most people are not aware of who is tracking them, how much they're being tracked and sort of the large amounts of detailed data that are out there about them.”

Tim Cook (1960) American business executive

CNN Tech: "Tim Cook reveals his tech habits: I use my phone too much" http://money.cnn.com/2018/06/04/technology/apple-tim-cook-screen-time/index.html (4 June 2018)

“And then, all of a sudden, it was as though through those dark eyes an electrical circuit had been struck. She sat fascinated. Snake-and-bird fascinated. Afterwards she could not recall the details of what he had said. She remembered only that she had been absorbed, rapt, lost, for over ten minutes by the clock. She had perceived images conjured up from the dead past: a hand trailed in clear river water, deliciously cool, while the sun smiled and a shoal of tiny fishes darted between her fingers; the crisp flesh of a ripe apple straight from the tree, so juicy it ran down her chin; grass between her bare toes, the turf like springs so that she seemed not to bear the whole of her weight on her soles but to be floating, dreamlike, in slow motion, instantly transported to the moon; the western sky painted with vast heart-tearing slapdash streaks of red below the bright steel-blue of clouds, and stars coming snap-snap into view against the eastern dark; wind gentle in her hair and on her cheeks, bearing flower perfumes, dusting her with petals; snow cold to the palm as it was shaped into a ball; laughter echoing from a dark lane where only lovers walked, not thieves and muggers; butter like an ingot of soft gold; ocean spray sharp and clean as the edge of an axe; with the same sense of safe, provided rightly used; round pebbles polychrome beside a pool; rain to which a thirsty mouth could open, distilling the taste of a continent of air... And under, and through, and in, and around all this, a conviction: “Something can be done to get that back!”
She was crying. Small tears like ants had itched their paths down her cheeks. She said, when she realized he had fallen silent, “But I never knew that! None of it! I was born and raised right here in New York!””

”But don’t you think you should have known it?” Austin Train inquired gently.
September “MINE ENEMIES ARE DELIVERED INTO MY HAND”
The Sheep Look Up (1972)

Kent Hovind photo
Albert Speer photo

“At this time a high-ranking SS leader hinted to me that Himmler was preparing decisive steps. In February 1945, the Reichsführer-SS had assumed command of the Vistula Army Group, but he was no better than his successor at stopping the Russian advance. Hitler was now berating him also. Thus what personal prestige Himmler had retained was used up by a few weeks of commanding frontline troops. Nevertheless, everyone still feared Himmler, and I felt distinctly shaky one day on learning that Himmler was coming to see me about something that evening. This, incidentally, was the only time he ever called on me. My nervousness grew when Theodor Hupfauer, the new chief of our Central Office- with whom I had several times spoken rather candidly- told me in some trepidation that Gestapo chief Kaltenbrunner would be calling on him at the same hour. Before Himmler entered, by adjutant whispered to me: "He's alone." My office was without window panes; we no longer bothered replacing them since they were blasted out by bombs every few days. A wretched candle stood at the center of the table; the electricity was out again. Wrapped in our coats, we sat facing one another. Himmler talked about minor matters, asked about pointless details, and finally made the witless observation: "When the course is downhill there's always a floor to the valley, and once it is reached, Herr Speer, the ascent begins again." Since I expressed neither agreement nor disagreement with this proverbial wisdom and remained virtually monosyllabic throughout the conversation, he soon took his leave. I never found out what he wanted of it, or why Kaltenbrunner called on Hupfauer at the same time. Perhaps t hey had heard about my critical attitude and were seeking allies; perhaps they merely wanted to sound us out.”

Albert Speer (1905–1981) German architect, Minister of Armaments and War Production for Nazi Germany

Source: Inside the Third Reich: Memoirs (1970), p. 427-428

Georges Seurat photo
Charles Evans Hughes photo
Richard Leakey photo
Swami Vivekananda photo
Ralph Ellison photo
Patrick Modiano photo
Alexander Fleming photo

“It is the lone worker who makes the first advance in a subject: the details may be worked out by a team, but the prime idea is due to the enterprise, thought, and perception of an individual.”

Alexander Fleming (1881–1955) Scottish biologist, pharmacologist and sexiest man

biographyonline.net http://www.biographyonline.net/scientists/alex-fleming.html

Maimónides photo
Paul Karl Feyerabend photo
Eric Holder photo
Margaret Hughes photo

“The work of an enthusiast who has watched and enjoyed cricket with an eye for detail and for character, for adventure and the human reflection beyond the ropes. It will, I fancy, be read with the same pleasure as it was written.”

Margaret Hughes (1645–1719) British actress

John Arlott, review of All On A Summer's Day; quoted in Times obituary http://www.timesonline.co.uk/tol/comment/obituaries/article516103.ece
About

Jack Vance photo
Jared Diamond photo
Robert Sheckley photo
Chris Hedges photo
Chuck Palahniuk photo

“No detail is too minor to note.”

Lullaby (2002)

George Biddell Airy photo
Yanni photo

“I don't dwell in the past; I don't wallow in old events and emotions. I don't waste time on regret. No use going over and over the details of what already happened.”

Yanni (1954) Greek pianist, keyboardist, composer, and music producer

Yanni in Words. Miramax Books. Co-author David Rensin

“There was a plea from honourable Members relating to the need for formal Gross National Product figures. Such figures are very inexact even in the most sophisticated countries I think they do not have a great deal of meaning, even as a basis of comparison between economies. That other countries make use of them is not, I think, necessarily a good reason to suppose that we need them. But, although I am not entirely clear what practical purpose they would serve in Hong Kong, I am sure they would be of interest. I suspect myself, however, that the need arises in other countries because high taxation and more or less detailed Government intervention in the economy have made it essential to be able to judge (or to hope to be able to judge) the effect of policies, and of changes in policies, on the economy. One of the honourable Members who spoke on this subject, said outright, as a confirmed planner, that he thought that they were desirable for the planning of our future economic policy. But we are in the happy position, happier at least for the Financial Secretary where the leverage exercised by Government on the economy is so small that it is not necessary, nor even of any particular value, to have these figures available for the formulation of policy. We might indeed be right to be apprehensive lest the availability of such figures might lead, by a reversal of cause and effect, to policies designed to have a direct effect on the economy. I would myself deplore this.”

John James Cowperthwaite (1915–2006) British colonial administrator

March 25, 1970, page 495.
Official Report of Proceedings of the Hong Kong Legislative Council

Ulrike Meinhof photo
Ibn Khaldun photo
Bhakti Tirtha Swami photo
Umberto Boccioni photo

“Let us explain again by examples. In painting a person on a balcony, seen from inside the room do not limit the scene to what the square of the window renders visible; we try to render the sum total of visual sensations which the person on the balcony has experienced; the sun-baked throng in the street, the double row of houses which stretch to right and left, the beflowered balconies etc. This implies the simultaneity of the ambient, and, therefore, the dislocation and the dislocation and dismemberment of objects, the scattering and fusion of details, freed from accepted logic and independent from one another. In order to make the spectator live in the center of the picture, as we express it in our manifesto the picture must be the synthesis of what one remembers and what one sees. You must render the invisible which stirs lives beyond intervening obstacles, what we have on the right, or the left, or behind us, and not merely the small square of life artificially compressed, as it were, by the wings of a stage set. We have declared in our manifesto that what must be rendered is the dynamic sensation, that is to say, the particular rhythm of each object, its inclination, its movement, or more exactly, its interior force.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Boccioni is referring in this quote to the 'Manifesto of Futurist Painters' of 1910, and its core Futurist concept of dynamic sensation; p. 47.
1912, Les exposants au public', 1912

Jef Raskin photo
Edward O. Wilson photo
Clement Attlee photo
Linus Torvalds photo

“" the most important part of open source is that people are allowed to do what they are good at" and " all that [diversity] stuff is just details and not really important."”

Linus Torvalds (1969) Finnish-American software engineer and hacker

Torvalds, Linus, 2015-01-15, <nowiki>Linus Torvalds on why he isn’t nice: &quot;I don’t care about you&quot;</nowiki>, 2015-01-20 http://arstechnica.com/business/2015/01/linus-torvalds-on-why-he-isnt-nice-i-dont-care-about-you/,
2010s, 2015

Daniel Dennett photo

“I have grown accustomed to the disrespect expressed by some of the participants for their colleagues in the other disciplines. "Why, Dan," ask the people in artificial intelligence, "do you waste your time conferring with those neuroscientists? They wave their hands about 'information processing' and worry about where it happens, and which neurotransmitters are involved, but they haven't a clue about the computational requirements of higher cognitive functions." "Why," ask the neuroscientists, "do you waste your time on the fantasies of artificial intelligence? They just invent whatever machinery they want, and say unpardonably ignorant things about the brain." The cognitive psychologists, meanwhile, are accused of concocting models with neither biological plausibility nor proven computational powers; the anthropologists wouldn't know a model if they saw one, and the philosophers, as we all know, just take in each other's laundry, warning about confusions they themselves have created, in an arena bereft of both data and empirically testable theories. With so many idiots working on the problem, no wonder consciousness is still a mystery. All these charges are true, and more besides, but I have yet to encounter any idiots. Mostly the theorists I have drawn from strike me as very smart people – even brilliant people, with the arrogance and impatience that often comes with brilliance – but with limited perspectives and agendas, trying to make progress on the hard problems by taking whatever shortcuts they can see, while deploring other people's shortcuts. No one can keep all the problems and details clear, including me, and everyone has to mumble, guess and handwave about large parts of the problem.”

Consciousness Explained (1991)

Henry Adams photo
Adrianne Wadewitz photo

“Ms. Wadewitz’s interest in rock climbing played out on Wikipedia. Her last editing was to improve an article about Steph Davis, a prominent female climber and wingsuit flier. In Ms. Wadewitz’s hands, the article became filled with personal details, spectacular photos, a highlighted quotation and 25 footnotes.”

Adrianne Wadewitz (1977–2014) academic and Wikipedian

Cohen, Noam. (April 18, 2014). "Adrianne Wadewitz, 37, Wikipedia Editor, Dies After Rock Climbing Fall" http://www.nytimes.com/2014/04/19/business/media/adrianne-wadewitz-37-wikipedia-editor-dies-after-rock-climbing-fall.html. The New York Times.
About

Frederick Douglass photo

“It's the fight for human freedom. And the fundamental lesson is that the meek don't make it. But audacity must be fused with attention to detail, with an awareness of social attitudes, power relations and scientific possibilities.”

Henry Spira (1927–1998) American activist

Context: There is a rich tradition to help answer this question ["What can be done?"]. It's the fight for human freedom. And the fundamental lesson is that the meek don't make it. But audacity must be fused with attention to detail, with an awareness of social attitudes, power relations and scientific possibilities.

Michelle Pfeiffer photo

“I always look at it as — it's like a treasure map, and each little detail in it, you sort of look at it for information and it points you in the right direction, to tell you where you need to go.”

Michelle Pfeiffer (1958) American actress

In response to the question, "How do you approach your roles?" from Inside the Actors Studio (2007) http://uk.youtube.com/user/pfeifferpfan2
Context: I always look at it as — it's like a treasure map, and each little detail in it, you sort of look at it for information and it points you in the right direction, to tell you where you need to go. You start out with a few choices, obviously — I need to learn the clarinet or I need to learn the cello, or I need to learn how to stay underwater without panicking — but it is like painting in a way, that at a certain point, the painting begins to tell you what to do. And with acting, it's the same — with acting in film, anyway — at a certain point then, what you've already put on screen begins to dictate to you where you need to go, and then it just starts to create itself in a way. And what I try to do is find a strand of myself, as different as I might feel the character is from me, and as removed as it is, I always try to find that one part of me. And then you kind of build on to that, because it's a way to keep you connected. And you never want to lose that connection. There's always some sort of parallel that's going on in my own life, and so you can use it to, you know, bring closure, perhaps, to certain things that you haven't. A healing, a reconnection. And I believe in that. I believe in that.

Isaac Asimov photo

“I received the fundamentals of my education in school, but that was not enough. My real education, the superstructure, the details, the true architecture, I got out of the public library.”

Isaac Asimov (1920–1992) American writer and professor of biochemistry at Boston University, known for his works of science fiction …

Source: I. Asimov: A Memoir (1994), Ch. 8, Library
Context: I received the fundamentals of my education in school, but that was not enough. My real education, the superstructure, the details, the true architecture, I got out of the public library. For an impoverished child whose family could not afford to buy books, the library was the open door to wonder and achievement, and I can never be sufficiently grateful that I had the wit to charge through that door and make the most of it.
Now, when I read constantly about the way in which library funds are being cut and cut, I can only think that the door is closing and that American society has found one more way to destroy itself.

Alan Watts photo
Roger Ebert photo

“In one sense, it tells absorbing stories, filled with detail, told with precision and not a little humor. On another sense, it is a parable. The message of the parable, as with all good parables, is expressed not in words but in emotions. After we have felt the pain of these people, and felt the love of the policeman and the nurse, we have been taught something intangible, but necessary to know.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review of Magnolia (1999), in review for Great Movies (27 November 2008) http://www.rogerebert.com/reviews/great-movie-magnolia-1999
Reviews, Four star reviews
Context: Magnolia is a film of sadness and loss, of lifelong bitterness, of children harmed and adults destroying themselves. As the narrator tells us near the end, "We may be through with the past, but the past is never through with us." In this wreckage of lifetimes, there are two figures, a policeman and a nurse, who do what they can to offer help, hope and love. … The central theme is cruelty to children, and its lasting effect. This is closely linked to a loathing or fear of behaving as we are told, or think, that we should. … As an act of filmmaking, it draws us in and doesn't let go. It begins deceptively, with a little documentary about amazing coincidences (including the scuba diver scooped by a fire-fighting plane and dumped on a forest fire) … coincidences and strange events do happen, and they are as real as everything else. If you could stand back far enough, in fact, everything would be revealed as a coincidence. What we call "coincidences" are limited to the ones we happen to notice. … In one beautiful sequence, Anderson cuts between most of the major characters all simultaneously singing https://www.youtube.com/watch?v=aNmKghTvj0E Aimee Mann's "It's Not Going to Stop." A directorial flourish? You know what? I think it's a coincidence. Unlike many other "hypertext movies" with interlinking plots, Magnolia seems to be using the device in a deeper, more philosophical way. Anderson sees these people joined at a level below any possible knowledge, down where fate and destiny lie. They have been joined by their actions and their choices.
And all leads to the remarkable, famous, sequence near the film's end when it rains frogs. Yes. Countless frogs, still alive, all over Los Angeles, falling from the sky. That this device has sometimes been joked about puzzles me. I find it a way to elevate the whole story into a larger realm of inexplicable but real behavior. We need something beyond the human to add another dimension. Frogs have rained from the sky eight times this century, but never mind the facts. Attend instead to Exodus 8:2, which is cited on a placard in the film: "And if thou refuse to let them go, behold, I will smite your whole territory with frogs." Let who go? In this case, I believe, it refers not to people, but to fears, shames, sins.
Magnolia is one of those rare films that works in two entirely different ways. In one sense, it tells absorbing stories, filled with detail, told with precision and not a little humor. On another sense, it is a parable. The message of the parable, as with all good parables, is expressed not in words but in emotions. After we have felt the pain of these people, and felt the love of the policeman and the nurse, we have been taught something intangible, but necessary to know.

Hyman George Rickover photo

“The man in charge must concern himself with details.”

Hyman George Rickover (1900–1986) United States admiral

The Rickover Effect (1992)
Context: The man in charge must concern himself with details. If he does not consider them important, neither will his subordinates. Yet “the devil is in the details.” It is hard and monotonous to pay attention to seemingly minor matters. In my work, I probably spend about ninety-nine percent of my time on what others may call petty details. Most managers would rather focus on lofty policy matters. But when the details are ignored, the project fails. No infusion of policy or lofty ideals can then correct the situation.

Gloria Steinem photo

“The men I’ve met who were the best allies of feminism are those who see their stake in it; who see that they themselves are being limited by a culture that deprives men of human qualities deemed feminine, which are actually just the qualities necessary to raise kids — empathy and attention to detail and patience.”

Gloria Steinem (1934) American feminist and journalist

The Humanist interview (2012)
Context: The men I’ve met who were the best allies of feminism are those who see their stake in it; who see that they themselves are being limited by a culture that deprives men of human qualities deemed feminine, which are actually just the qualities necessary to raise kids — empathy and attention to detail and patience. Men have those qualities too but they’re not encouraged to develop them. And so they miss out on raising their kids, and they actually shorten their own lives. When men realize that feminism is a universal good that affects them in very intimate ways then I think they really become allies and leaders.

Bob Black photo

“These experts who offer to do our thinking for us rarely share their conclusions about work, for all its saliency in the lives of all of us. Among themselves they quibble over the details.”

The Abolition of Work (1985)
Context: These experts who offer to do our thinking for us rarely share their conclusions about work, for all its saliency in the lives of all of us. Among themselves they quibble over the details. Unions and management agree that we ought to sell the time of our lives in exchange for survival, although they haggle over the price. Marxists think we should be bossed by bureaucrats. Libertarians think we should be bossed by businessmen. Feminists don't care which form bossing takes so long as the bosses are women. Clearly these ideology-mongers have serious differences over how to divvy up the spoils of power. Just as clearly, none of them have any objection to power as such and all of them want to keep us working.
You may be wondering if I'm joking or serious. I'm joking and serious. To be ludic is not to be ludicrous. Play doesn't have to be frivolous, although frivolity isn't triviality: very often we ought to take frivolity seriously. I'd like life to be a game — but a game with high stakes. I want to play for keeps.

Constantine P. Cavafy photo

“I created you while I was happy, while I was sad,
with so many incidents, so many details.”

Constantine P. Cavafy (1863–1933) Greek poet

" In the Same Space http://cavafis.compupress.gr/kave_134.htm" (1929)
Context: p>I created you while I was happy, while I was sad,
with so many incidents, so many details.And, for me, the whole of you has been transformed into feeling.</p

John Marshall photo
Ludwig Mies van der Rohe photo

“God is in the details.”

Ludwig Mies van der Rohe (1886–1969) German architect

"On restraint in Design" in The New York Herald Tribune (28 June 1959)

“There is simply too much known to continue the older approach of giving detailed results.”

Richard Hamming (1915–1998) American mathematician and information theorist

Methods of Mathematics Applied to Calculus, Probability, and Statistics (1985)
Context: We intend to teach the doing of mathematics. The applications of these methods produce the results of mathematics (which usually is only what is taught)... There is also a deliberate policy to force you to think abstractly... it is only through abstraction that any reasonable amount of useful mathematics can be covered. There is simply too much known to continue the older approach of giving detailed results.

Martin Fowler photo
Jiddu Krishnamurti photo

“This is not mere romantic verbalization but actually it is so, and that is what I would like to talk about now and every time we get together. We must capture the whole and not be carried away by the detail, however pressing, immediate, anxious it may be. I think that is where the revolution begins.”

Jiddu Krishnamurti (1895–1986) Indian spiritual philosopher

Vol. XI, p. 62
Posthumous publications, The Collected Works
Context: I think we must see this very clearly right at the beginning — that if one would solve the everyday problems of existence, whatever they may be, one must first see the wider issues and then come to the detail. After all, the great painter, the great poet is one who sees the whole — who sees all the heavens, the blue skies, the radiant sunset, the tree, the fleeting bird — all at one glance; with one sweep he sees the whole thing. With the artist, the poet, there is an immediate, a direct communion with this whole marvellous world of beauty. Then he begins to paint, to write, to sculpt; he works it out in detail. If you and I could do the same, then we should be able to approach our problems — however contradictory, however conflicting, however disturbing — much more liberally, more wisely, with greater depth and colour, feeling. This is not mere romantic verbalization but actually it is so, and that is what I would like to talk about now and every time we get together. We must capture the whole and not be carried away by the detail, however pressing, immediate, anxious it may be. I think that is where the revolution begins.

John Maynard Keynes photo

“I have sought with some touches of detail to bring out the solidarity and historical continuity of the High Intelligentsia of England, who have built up the foundations of our thought in the two and a half centuries, since Locke, in his Essay Concerning Human Understanding, wrote the first modern English book.”

John Maynard Keynes (1883–1946) British economist

Source: Essays In Biography (1933), Preface, p. viii
Context: I have sought with some touches of detail to bring out the solidarity and historical continuity of the High Intelligentsia of England, who have built up the foundations of our thought in the two and a half centuries, since Locke, in his Essay Concerning Human Understanding, wrote the first modern English book. I relate below the amazing progeny of Sir George Villiers. But the lineage of the High Intelligentsia is hardly less interbred and spiritually inter-mixed. Let the Villiers Connection fascinate the monarch or the mob and rule, or seem to rule, passing events. There is also a pride of sentiment to claim spiritual kinship with the Locke Connection and that long English line, intellectually and humanly linked with one another, to which the names in my second section belong. If not the wisest, yet the most truthful of men. If not the most personable, yet the queerest and sweetest. If not the most practical, yet of the purest public conscience. If not of high artistic genius, yet the most solid and sincere accomplishment within many of the fields which are ranged by the human mind.

Don Marquis photo

“Humanity triumphs over its details.”

Don Marquis (1878–1937) American writer

The Almost Perfect State (1921)
Context: The wise and subtle deities permit nothing worthy to be lost. It was with no thought of beauty that the builders labored; no conscious thought; they were masters or slaves in the bitter wars of commerce, and they never saw as a whole what they were making; no one of them did. But each one had had his dream. And the baffled dreams and the broken visions and the ruined hopes and the secret desires of each one labored with him as he labored; the things that were lost and beaten and trampled down went into the stone and steel and gave it soul: the aspiration denied and the hope abandoned and the vision defeated were the things that lived, and not the apparent purpose for which each one of all the millions sweat and toiled or cheated; the hidden things, the silent things, the winged things, so weak they are easily killed, the unacknowledged things, the rejected beauty, the strangled appreciation, the inchoate art, the submerged spirit — these groped and found each other and gathered themselves together and worked themselves into the tiles and mortar of the edifice and made a town that is a worthy fellow of the sunrise and the sea winds.
Humanity triumphs over its details.

Mikhail Gorbachev photo

“No one is in a position to describe in detail what perestroika will finally produce. But it would certainly be a self-delusion to expect that perestroika will produce "a copy" of anything.”

Mikhail Gorbachev (1931) General Secretary of the Communist Party of the Soviet Union

Nobel Address (1991)
Context: I began my book about perestroika and the new thinking with the following words: "We want to be understood". After a while I felt that it was already happening. But now I would like once again to repeat those words here, from this world rostrum. Because to understand us really — to understand so as to believe us — proved to be not at all easy, owing to the immensity of the changes under way in our country. Their magnitude and character are such as to require in-depth analysis. Applying conventional wisdom to perestroika is unproductive. It is also futile and dangerous to set conditions, to say: We'll understand and believe you, as soon as you, the Soviet Union, come completely to resemble "us", the West.
No one is in a position to describe in detail what perestroika will finally produce. But it would certainly be a self-delusion to expect that perestroika will produce "a copy" of anything.

Werner Heisenberg photo

“However the development proceeds in detail, the path so far traced by the quantum theory indicates that an understanding of those still unclarified features of atomic physics can only be acquired by foregoing visualization and objectification to an extent greater than that customary hitherto.”

Werner Heisenberg (1901–1976) German theoretical physicist

The Development of Quantum Mechanics (1933)
Context: However the development proceeds in detail, the path so far traced by the quantum theory indicates that an understanding of those still unclarified features of atomic physics can only be acquired by foregoing visualization and objectification to an extent greater than that customary hitherto. We have probably no reason to regret this, because the thought of the great epistemological difficulties with which the visual atom concept of earlier physics had to contend gives us the hope that the abstracter atomic physics developing at present will one day fit more harmoniously into the great edifice of Science.