Quotes about exterior

A collection of quotes on the topic of exterior, interior, other, work.

Quotes about exterior

Socrates photo
Anne Brontë photo
Mark Twain photo
Mark Twain photo
Friedrich Nietzsche photo

“There exists no more repulsive and desolate creature in the world than the man who has evaded his genius and who now looks furtively to left and right, behind him and all about him. In the end such a man becomes impossible to get hold of, since he is wholly exterior, without kernel: a tattered, painted bag of clothes; a decked-out ghost that cannot inspire even fear and certainly not pity.”

Es gibt kein öderes und widrigeres Geschöpf in der Natur als den Menschen, welcher seinem Genius ausgewichen ist und nun nach rechts und nach links, nach rückwärts und überallhin schielt. Man darf einen solchen Menschen zuletzt gar nicht mehr angreifen, denn er ist ganz Außenseite ohne Kern, ein anbrüchiges, gemaltes, aufgebauschtes Gewand.
“Schopenhauer as educator,” § 3.1, R. Hollingdale, trans. (1983), p. 128
Untimely Meditations (1876)

John of the Cross photo
John of the Cross photo
Luc de Clapiers, Marquis de Vauvenargues photo
The Mother photo
Maria Montessori photo

“The teachers of the old school, prepared according to the principles of metaphysical philosophy, understood the ideas of certain men regarded as authorities, and moved the muscles of speech in talking of them, and the muscles of the eye in reading their theories. Our scientific teachers, instead, are familiar with certain instruments and know how to move the muscles of the hand and arm in order to use these instruments; besides this, they have an intellectual preparation which consists of a series of typical tests, which they have, in a barren and mechanical way, learned how to apply.
The difference is not substantial, for profound differences cannot exist in exterior technique alone, but lie rather within the inner man.”

Maria Montessori (1870–1952) Italian pedagogue, philosopher and physician

Source: The Montessori Method (1912), Ch. 1 : A Critical Consideration of the New Pedagogy in its Relation to Modern Science, p. 7.
Context: To prepare teachers in the method of the experimental sciences is not an easy matter. When we shall have instructed them in anthropometry and psychometry in the most minute manner possible, we shall have only created machines, whose usefulness will be most doubtful. Indeed, if it is after this fashion that we are to initiate our teachers into experiment, we shall remain forever in the field of theory. The teachers of the old school, prepared according to the principles of metaphysical philosophy, understood the ideas of certain men regarded as authorities, and moved the muscles of speech in talking of them, and the muscles of the eye in reading their theories. Our scientific teachers, instead, are familiar with certain instruments and know how to move the muscles of the hand and arm in order to use these instruments; besides this, they have an intellectual preparation which consists of a series of typical tests, which they have, in a barren and mechanical way, learned how to apply.
The difference is not substantial, for profound differences cannot exist in exterior technique alone, but lie rather within the inner man. Not with all our initiation into scientific experiment have we prepared new masters, for, after all, we have left them standing without the door of real experimental science; we have not admitted them to the noblest and most profound phase of such study, — to that experience which makes real scientists.

Suzanne Collins photo
Richelle Mead photo
Walt Whitman photo
Jonathan Lethem photo
Gloria Estefan photo

“A woman's exterior beauty is a reflection of her internal peace and happiness.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

www.beautyblabber.com (July 31, 2007)
2007, 2008

Carson Grant photo

“…to harness and directed peaceful energy from the viewers under the mountain through a twenty foot, five pointed Texas Star Vortex which was hung between the two massive exterior columns on the balcony into the historically tarnished Dallas Dealy Plaza and book depository hoping to honor John F. Kennedy's memory.”

Carson Grant (1950) American actor

Kaminsky, Denise, Aug 2006, "Carson Grant: Actor/Artist- A Lifetime of Art", Denise's Interviews and Media News, p. 1
Prytyskacz,Jean, "Focus on an Artist", Westside Arts Coalition Newsletter, Spring 2007, p. 5
About a walk-under suspended cellophane and plastic 3-D hologram mountain installation Harmony Mountain (100' x 100') Carson constructed inside the second floor of the old Dallas Union Train Station for the SIGGRAPH 1990 Convention, Texas

Salvador Dalí photo
Alexander McCall Smith photo
Eduardo Torroja photo
Jane Roberts photo
Ragnar Frisch photo
Burkard Schliessmann photo

“The trends that produced Schumann’s early piano works started out not so much from Weber’s refined brilliance as from Schubert’s more intimate and deeply soul-searching idiom. His creative imagination took him well beyond the harmonic sequences known until his time. He looked at the fugues and canons of earlier composers and discovered in them a Romantic principle. In the interweaving of the voices, the essence of counterpoint found its parallel in the mysterious relationships between the human psyche and exterior phenomena, which Schumann felt impelled to express. Schubert’s broad melodic lyricism has often been contrasted with Schumann’s terse, often quickly repeated motifs, and by comparison Schumann is often erroneously seen as short-winded. Yet it is precisely with these short melodic formulae that he shone his searchlight into the previously unplumbed depths of the human psyche. With them, in a complex canonic web, he wove a dense tissue of sound capable of taking in and reflecting back all the poetical character present. His actual melodies rarely have an arioso form; his harmonic system combines subtle chromatic progressions, suspensions, a rapid alternation of minor and major, and point d’orgue. The shape of Schumann’s scores is characterized by contrapuntal lines, and can at first seem opaque or confused. His music is frequently marked by martial dotted rhythms or dance-like triple time signatures. He loves to veil accented beats of the bar by teasingly intertwining two simultaneous voices in independent motion. This highly inde-pendent instrumental style is perfectly attuned to his own particular compositional idiom. After a period in which the piano had indulged in sensuous beauty of sound and brilliant coloration, in Schumann it again became a tool for conveying poetic monologues in musical terms.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Jacob Bekenstein photo
William Cowper photo

“Thus happiness depends, as Nature shows,
Less on exterior things than most suppose.”

William Cowper (1731–1800) (1731–1800) English poet and hymnodist

Source: Table Talk (1782), Line 246.

André Maurois photo
Dennis Lehane photo
Gerhard Richter photo
Jane Roberts photo
Rafael Sabatini photo
Auguste Rodin photo
Harold W. Percival photo
Karel Appel photo

“The true artist has no style. Style is an exterior decorative element. The true artist as servant of his matter, transcends it with an absolute freedom.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

quote, 1984 - from ATV', 188; p. 49
Karel Appel, a gesture of colour' (1992/2009)

Jane Roberts photo
Jennifer Beals photo

“Inside every woman there is a Kali. [Hindu goddess who morphed into seven hidden beings to win a battle] Do not mistake the exterior for the interior.”

Jennifer Beals (1963) American actress and a former teen model

Interview with Canadian Press (17 February 2011) http://ca.news.yahoo.com/flashdance-force-beals-top-cop-chicago-code-20110217-102915-894.html.

Oscar Levant photo

“It's not a pretty face, I grant you. But underneath its flabby exterior is an enormous lack of character.”

Oscar Levant (1906–1972) American comedian, composer, pianist and actor

Describing himself, in lines he contributed to An American In Paris (1951), although officially credited to Alan Jay Lerner, as told in The Memoirs of an Amnesiac (1965); also quoted in The Dictionary of Biographical Quotation of British and American Subjects (1978) by Richard Kenin and Justin Wintle, p. 485.

“A fair exterior is a silent recommendation.”

Publilio Siro Latin writer

Maxin 267
Sentences, The Moral Sayings of Publius Syrus, a Roman Slave

Theo van Doesburg photo

“The new architecture has 'opened' the walls so that the separateness of interior and exterior is suppressed. Walls no longer sustain since the system of construction is based upon the use of columns. This results in a new type of ground plan, an open ground plan, which is totally different from classical ones, since interior space and exterior space are interrelated.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote from Van Doesburg's unpublished writing, 'Fundamental principles', 1930; as cited in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 203
1926 – 1931

Jane Roberts photo
Sri Aurobindo photo

“Our actual enemy is not any force exterior to ourselves, but our own crying weaknesses, our cowardice, our selfishness, our hypocrisy, our purblind sentimentalism.”

Sri Aurobindo (1872–1950) Indian nationalist, freedom fighter, philosopher, yogi, guru and poet

21 August 1893
New Lamps for Old (1893)

Osama bin Laden photo
Theo van Doesburg photo
Michel Foucault photo
Charles Bowen photo
African Spir photo
Peter Kropotkin photo
Auguste Rodin photo

“Gsell: What astonishes me, is that your way is so different from that of other sculptors. They prose the model. Instead of that, you wait till a model has instinctively or accidentally taken an Interesting pose, and thon you reproduce It. Instead of your giving orders to the model, the model gives orders to you.
Rodin: I am not at the model's orders; I am at Nature's. Doubtless my confreres have their reasons for proceeding as they do. But when one constrains Nature in that way and treats human beings as mannikins, one runs a risk of getting nothing but dead, artificial results. A hunter of truth and a trapper of life. I am careful not to follow their example. I seize upon the movements I observe, but I don't dictate them. when a subject requires a predetermined pose, I merely Indicate It. For I want only what reality will afford without being forced. In everything I obey Nature. I never assume to command her. My sole ambition Is a servile fidelity.
Gsell : And yet, you take liberties with nature. You make changes.
Rodin : Not at all. I should be false to myself if I did.
Gsell : But you finished work is never like the plaster sketch
Rodin : That is so, but the sketch is far less true than the finished work. It would Impossible for a model to keep a living attitude during all the time it takes to shape the clay. Still, I retain a general idea of the pose and require the model to conform to it. But this is not all. The sketch reproduces only the exterior. I must next reproduce the spirit, which is every whit as essential a part of Nature. I see the whole truth — not merely the fraction of it that lies upon the surface. I accentuate tho lines that best express the spiritual state I am Interpreting.”

Auguste Rodin (1840–1917) French sculptor

Rodin on realism, 1910

Nikolai Berdyaev photo

“Objectification is above all exteriorization, the alienation of spirit from itself.”

Nikolai Berdyaev (1874–1948) Russian philosopher

Source: The Beginning and the End (1947), p. 63

Eduardo Torroja photo
Mobutu Sésé Seko photo
Salvador Dalí photo
Gino Severini photo

“[the] circular rhythmic movement of a dancer, the folds of whose dress are held out by means of a hoop. These folds preserve their exterior form, modified in a uniform manner through the rotary movement. In order the better to convey the notion of relief, I have attempted to model the essential portions in a manner almost sculptural. Light and ambiance act simultaneously on the forms in movement.”

Gino Severini (1883–1966) Italian painter

from Severini's text, in the entry for the Marlborough Gallery exhibition; as cited by Daniela Fonti, Gino Severini Catalogo Ragionato, Milan: Edizione Phillipe Daverio, 1988, p. 130
Severine is describing here his painting 'Dancer at Pigalle' https://theartstack.com/artist/gino-severini-1/dancer-pigalle, 1912

Mohammad Reza Pahlavi photo
Auguste Rodin photo
Michel De Montaigne photo
Alexander Mackenzie photo
Auguste Rodin photo
Samael Aun Weor photo
Francesco Saverio Nitti photo

“The poverty-stricken rural population rose up against their despoilers; they burnt down the castles of the nobles, and swore that they would leave nothing to be seen upon the land but the cabins of the poor. The rich middle-class seemed at first to side with them, and at Strasburg, Nuremberg, and Ulm the peasants were encouraged, aided, and provided for. However, the bourgeoisie soon grew alarmed at the spreading of the insurrection, and made common cause with the nobles in smothering the revolt in the rural districts. Luther, who was then at the apex of his power, condemned the rising in the name of religion, and proclaimed the servitude of the people as holy and legitimate. "You seek," wrote he, "to free your persons and your goods. You desire the power and the goods of this earth. You will suffer no wrong. The Gospel, on the contrary, has no care for such things, and makes exterior life consist in suffering, supporting injustice, the cross, patience, and contempt of life, as of all the things of this world. To suffer! To suffer! The cross! The cross! Behold what Christ teaches!" Were not these teachings, given in the name of the faith to a famishing people in revolt against the tyranny and avidity of the ruling aristocracy, fatal to the future of the peasant masses, whose very sufferings were thus legitimised in the name of the religion that should have come to their aid?”

Francesco Saverio Nitti (1868–1953) Italian economist and political figure

Source: Catholic Socialism (1895), p. 75

Ragnar Frisch photo

“Certain exterior impulses hit the economic mechanism and thereby initiate more or less regular oscillations.”

Source: 1930s, Propagation problems and impulse problems in dynamic economics, 1933, p. 173

Emily Brontë photo
Wassily Kandinsky photo
Umberto Boccioni photo
Isa Genzken photo
James Nasmyth photo

“My first essay at making a steam engine was when I was fifteen. I then made a real working; steam-engine, 1 3/4 diameter cylinder, and 8 in. stroke, which not only could act, but really did some useful work; for I made it grind the oil colours which my father required for his painting. Steam engine models, now so common, were exceedingly scarce in those days, and very difficult to be had; and as the demand for them arose, I found it both delightful and profitable to make them; as well as sectional models of steam engines, which I introduced for the purpose of exhibiting the movements of all the parts, both exterior and interior. With the results of the sale of such models I was enabled to pay the price of tickets of admission to the lectures on natural philosophy and chemistry delivered in the University of Edinburgh. About the same time (1826) I was so happy as to be employed by Professor Leslie in making models and portions of apparatus required by him for his lectures and philosophical investigations, and I had also the inestimable good fortune to secure his friendship. His admirably clear manner of communicating a knowledge of the fundamental principles of mechanical science rendered my intercourse with him of the utmost importance to myself. A hearty, cheerful, earnest desire to toil in his service, caused him to take pleasure in instructing me by occasional explanations of what might otherwise have remained obscure.”

James Nasmyth (1808–1890) Scottish mechanical engineer and inventor

James Nasmyth in: Industrial Biography: Iron-workers and Tool-makers https://books.google.nl/books?id=ZMJLAAAAMAAJ, Ticknor and Fields, 1864. p. 337

Edmund White photo
Jacob Bekenstein photo
Ernesto Grassi photo

“If philosophy aims at being a theoretical mode of thought and speech, can it have a rhetorical character and be expressed in rhetorical forms? The answer seems obvious. Theoretical thinking, as a rational process, excludes every rhetorical element because pathetic influences—the influences of feeling—disturb the clarity of rational thought. …
To prove means to show something to be something, on the basis of something. To have something through which something is shown and explained definitively is the foundation of our knowledge. Apodictic, demonstrative speech is the kind of speech which establishes the definition of a phenomenon by tracing it back to ultimate principles, or archai. It is clear that the first archai of any proof and hence of knowledge cannot be proved themselves because they cannot be the object of apodictic, demonstrative, logical speech; otherwise they would not be the first assertions. Their nonderivable, primary character is evident from the fact that we neither can speak nor comport ourselves without them, for both speech and human activity simply presuppose them. But if the original assertions are not demonstrable, what is the character of the speech in which we express them? Obviously this type of speech cannot have a rational-theoretical character….
Basic premises cannot have an apodictic, demonstrative character and structure but are thoroughly indicative….
Arche … cannot have a rational but only a rhetorical character. Thus the term "rhetoric" assumes a fundamentally new significance; "rhetoric" is not, nor can it be the art, the technique of an exterior persuasion; it is rather the speech which is the basis of the rational thought.”

Ernesto Grassi (1902–1991) Italian philosopher

Source: Rhetoric as Philosophy (1980), pp. 18-19

Franz Marc photo
Bono photo

“These last two albums mix up the personal and the political so that you don't know which one you're talking to. That's a kind of magic trick, and realizing that of course all the problems that we find in the exterior world are just manifestations of what we, you know, what we hold inside of us, in our interior worlds.”

Bono (1960) Irish rock musician, singer of U2

On Songs of Innocence and Songs of Experience
Bono: The Rolling Stone Interview (2017)
Context: These last two albums mix up the personal and the political so that you don't know which one you're talking to. That's a kind of magic trick, and realizing that of course all the problems that we find in the exterior world are just manifestations of what we, you know, what we hold inside of us, in our interior worlds. The biggest fucker, the biggest asshole, the biggest, the most sexist we can be, the most selfish, mean, cunning, all those characters you are going to see them in the mirror. And that is where the job of transformation has to start first. Is that not what experience tells us?

Edgard Varèse photo

“Possible musical forms are as limitless as the exterior forms of crystals.”

Edgard Varèse (1883–1965) French composer

Aspects of 20th Century Music (1975) by Gary Wittlich and Richard P. DeLone
Context: There is an idea, the basis of an internal structure, expanded and split into different shapes or groups of sound constantly changing in shape, direction, and speed, attracted and repulsed by various forces. The form of the work is a consequence of this interaction. Possible musical forms are as limitless as the exterior forms of crystals.

Ken Wilber photo

“In other words, the real problem is not exterior. The real problem is interior.”

Sex, Ecology, Spirituality (1995, 2000)
Context: In other words, the real problem is not exterior. The real problem is interior. The real problem is how to get people to internally transform, from egocentric to sociocentric to worldcentric consciousness, which is the only stance that can grasp the global dimensions of the problem in the first place, and thus the only stance that can freely, even eagerly, embrace global solutions.

Thomas Merton photo

“We are not meant to resolve all contradictions but to live with them and rise above them and see them in the light of exterior and objective values which make them trivial by comparison.”

Thomas Merton (1915–1968) Priest and author

Thoughts in Solitude (1956)
Context: Contradictions have always existed in the soul of [individuals]. But it is only when we prefer analysis to silence that they become a constant and insoluble problem. We are not meant to resolve all contradictions but to live with them and rise above them and see them in the light of exterior and objective values which make them trivial by comparison.

“The view I am presenting proposes a mechanism more and more interlocked with the totality of the exterior. This mechanism has no separate existence at all, being in a thousand ways united with and continuously interacting with the whole exterior domain.”

Edwin H. Land (1909–1991) American scientist and inventor

Address to the Society of Photographic Scientists and Engineers, Los Angeles, California (5 May 1977), published Harvard Magazine (January-February 1978), pp. 23–26 <!-- , and in Zygon Vol. 16, No. 1, (1981) p. 7 - 13 -->
Context: Ordinarily when we talk about the human as the advanced product of evolution and the mind as being the most advanced product of evolution, there is an implication that we are advanced out of and away from the structure of the exterior world in which we have evolved, as if a separate product had been packaged, wrapped up, and delivered from a production line. The view I am presenting proposes a mechanism more and more interlocked with the totality of the exterior. This mechanism has no separate existence at all, being in a thousand ways united with and continuously interacting with the whole exterior domain. In fact there is no exterior red object with a tremendous mind linked to it by only a ray of light. The red object is a composite product of matter and mechanism evolved in permanent association with a most elaborate interlock. There is no tremor in what we call the "outside world" that is not locked by a thousand chains and gossamers to inner structures that vibrate and move with it and are a part of it.
The reason for the painfulness of all philosophy is that in the past, in its necessary ignorance of the unbelievable domains of partnership that have evolved in the relationship between ourselves and the world around us, it dealt with what indeed have been a tragic separation and isolation. Of what meaning is the world without mind? The question cannot exist.

Robert Greene photo
Michel Henry photo

“Because our flesh is nothing but what, feeling itself, suffering itself, sustaining itself and bearing itself and so enjoying from itself according to always reborning impressions, is able, for this reason, to feel the body which is exterior to it, to touch it as well as being touched by it. What the exterior body, the lifeless body of the material universe, is by principle incapable.”

Michel Henry (1922–2002) French writer

Michel Henry, Incarnation. Une philosophie de la chair, éd. du Seuil, 2000, p. 8
Books on Religion and Christianity, Incarnation: A philosophy of Flesh (2000)
Original: (fr) Car notre chair n'est rien d'autre que cela qui, s'éprouvant, se souffrant, se subissant et se supportant soi-même et ainsi jouissant de soi selon des impressions toujours renaissantes, se trouve, pour cette raison, susceptible de sentir le corps qui lui est extérieur, de le toucher aussi bien que d'être touché par lui. Cela donc dont le corps extérieur, le corps inerte de l'univers matériel, est par principe incapable.

Dana Arnold photo
Lois McMaster Bujold photo

“A person’s things can be a kind of exterior morphology of their mind.”

Aftermaths (p. 247). Note: Aftermaths was originally published as a standalone short story in 1986, but since then has usually been reprinted as a sort of appendix to Shards of Honor, which it follows naturally in the series arc.
Vorkosigan Saga, Shards of Honor (1986)

Frithjof Schuon photo
Arsenius the Great photo

“Strive with all your might to bring your interior activity into accord with God, and you will overcome exterior passions.”

Arsenius the Great (354–449) Desert Father

Sayings of the Desert Fathers, as translated by Benedicta Ward, SLG (Cistercian Publications: 1975), Saying 9, Page 10