Quotes about lighting
page 38

Arthur O'Shaughnessy photo
Immanuel Kant photo

“When Galilei let balls of a particular weight, which he had determined himself, roll down an inclined plain, or Torricelli made the air carry a weight, which he had previously determined to be equal to that of a definite volume of water; or when, in later times, Stahl changed metal into lime, and lime again into metals, by withdrawing and restoring something, a new light flashed on all students of nature. They comprehended that reason has insight into that only, which she herself produces on her own plan, and that she must move forward with the principles of her judgments, according to fixed law, and compel nature to answer her questions, but not let herself be led by nature, as it were in leading strings, because otherwise accidental observations made on no previously fixed plan, will never converge towards a necessary law, which is the only thing that reason seeks and requires. Reason, holding in one hand its principles, according to which concordant phenomena alone can be admitted as laws of nature, and in the other hand the experiment, which it has devised according to those principles, must approach nature, in order to be taught by it: but not in the character of a pupil, who agrees to everything the master likes, but as an appointed judge, who compels the witnesses to answer the questions which he himself proposes. Therefore even the science of physics entirely owes the beneficial revolution in its character to the happy thought, that we ought to seek in nature (and not import into it by means of fiction) whatever reason must learn from nature, and could not know by itself, and that we must do this in accordance with what reason itself has originally placed into nature. Thus only has the study of nature entered on the secure method of a science, after having for many centuries done nothing but grope in the dark.”

Preface to 2nd edition, Tr. F. Max Müller (1905)
Critique of Pure Reason (1781; 1787)

Prem Rawat photo
Pete Doherty photo
William Cowper photo
Gwendolyn Brooks photo
David Woodard photo
August Macke photo
Charles Edward Merriam photo

“This volume is an analysis of the American party system, an account of the structure, processes and significance of the political party, designed to show as clearly as possible within compact limits what the function of the political party is in the community. My purpose is to make this, as far as possible, an objective study of the organization and behavior of our political parties. It is hoped that this volume may serve as an introduction to students and others who wish to find a concise account of the party system; and also that it may serve to stimulate more intensive study of the important features and processes of the party. From time to time in the course of this discussion significant fields of inquiry have been indicated where it is believed that research would bear rich fruit. In the light of broader statistical information than we now have and with the aid of a thorough-going social and political psychology than we now have, it will be possible in the future to make much more exhaustive and conclusive studies of political parties than we are able to do at present. The objective, detailed study of political behavior will unquestionably enlarge our knowledge of the system of social and political control under which we now operate. But such inquiries will call for funds and personnel not now available to me.”

Charles Edward Merriam (1874–1953) American political scientist

Source: The American Party System, 1922, p. v; Preface lead paragraph

François Fénelon photo
Pierre-Auguste Renoir photo

“Out-of-doors there is a greater variety of light than in the studio, where the light is always the same. But that is just the trouble; one is carried away by the light, and besides, one can't see what one is doing.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Source: undated quotes, Renoir – his life and work, 1975, p. 176 : to Vollard. Renoir was referring to two of his landscapes, painted in the open air, having a different look in the studio light.

Rahul Gandhi photo
James Jeans photo
Dietrich Bonhoeffer photo
Robert Grosseteste photo
James Clerk Maxwell photo

“I have also cleared the electromagnetic theory of light from all unwarrantable assumption, so that we may safely determine the velocity of light by measuring the attraction between bodies kept at a given difference of potential, the value of which is known in electromagnetic measure.”

James Clerk Maxwell (1831–1879) Scottish physicist

Letter to C. Hockin, Esq. (Sept 7, 1864) as quoted by Lewis Campbell, William Garnett, The Life of James Clerk Maxwell: With Selections from His Correspondence and Occasional Writings https://books.google.com/books?id=B7gEAAAAYAAJ (1884)

Gene Youngblood photo
Pierre Louis Maupertuis photo
Gerald James Whitrow photo
Ingmar Bergman photo

“Winter Light — suppose we discuss that now?… The film is closely connected with a particular piece of music: Stravinski's A Psalm Symphony. I heard it on the radio one morning during Easter, and it struck me I'd like to make a film about a solitary church on the plains of Uppland. Someone goes into the church, locks himself in, goes up to the altar, and says: 'God, I'm staying here until in one way or another You've proved to me You exist. This is going to be the end either of You or of me!' Originally the film was to have been about the days and nights lived through by this solitary person in the locked church, getting hungrier and hungrier, thirstier and thirstier, more and more expectant, more and more filled with his own experiences, his visions, his dreams, mixing up dream and reality, while he's involved in this strange, shadowy wrestling match with God.
We were staying out on Toro, in the Stockholm archipelago. It was the first summer I'd had the sea all around me. I wandered about on the shore and went indoors and wrote, and went out again. The drama turned into something else; into something altogether tangible, something perfectly real, elementary and self-evident.
The film is based on something I'd actually experienced. Something a clergyman up in Dalarna told me: the story of the suicide, the fisherman Persson. One day the clergyman had tried to talk to him; the next, Persson had hanged himself. For the clergyman it was a personal catastrophe.”

Ingmar Bergman (1918–2007) Swedish filmmaker

Jonas Sima interview <!-- pages 173-174 -->
Bergman on Bergman (1970)

Francis Quarles photo

“Thou art my life, my way, my light”

Francis Quarles (1592–1644) English poet

Why dost thou Shade thy Lovely Face? (1635).

James Macpherson photo

“Can I forget that beam of light, the white-handed daughter of kings?”

James Macpherson (1736–1796) Scottish writer, poet, translator, and politician

"Cath-Loda", Duan I
The Poems of Ossian

Paramahansa Yogananda photo
Octavio Paz photo

“willow of crystal, a poplar of water,
a pillar of fountain by the wind drawn over,
tree that is firmly rooted and that dances,
turning course of a river that goes curving,
advances and retreats, goes roundabout,
arriving forever:
the calm course of a star
or the spring, appearing without urgency,
water behind a stillness of closed eyelids
flowing all night and pouring out prophecies,
a single presence in the procession of waves
wave over wave until all is overlapped,
in a green sovereignty without decline
a bright hallucination of many wings
when they all open at the height of the sky, course of a journey among the densities
of the days of the future and the fateful
brilliance of misery shining like a bird
that petrifies the forest with its singing
and the annunciations of happiness
among the branches which go disappearing,
hours of light even now pecked away by the birds,
omens which even now fly out of my hand, an actual presence like a burst of singing,
like the song of the wind in a burning building,
a long look holding the whole world suspended,
the world with all its seas and all its mountains,
body of light as it is filtered through agate,
the thighs of light, the belly of light, the bays,
the solar rock and the cloud-colored body,
color of day that goes racing and leaping,
the hour glitters and assumes its body,
now the world stands, visible through your body,
and is transparent through your transparency”

Octavio Paz (1914–1998) Mexican writer laureated with the 1990 Nobel Prize for Literature

Sun Stone (1957)

William Wordsworth photo

“The light that never was, on sea or land,
The consecration, and the poet's dream.”

William Wordsworth (1770–1850) English Romantic poet

Elegiac Stanzas. Suggested by a Picture of Peele Castle in a Storm, st. 4 (1805).

Henry Wadsworth Longfellow photo
Paul Cézanne photo
David Brin photo
Arthur Stanley Eddington photo

“As truly as the mystic, the scientist is following a light; and it is not a false or an inferior light.”

Arthur Stanley Eddington (1882–1944) British astrophysicist

IV, p.41
Science and the Unseen World (1929)

Lloyd Kaufman photo
David C. McClelland photo
László Moholy-Nagy photo

“My talent lies in the expression of my life and creative power through light, colour and form. As a painter I can convey the essence of life.”

László Moholy-Nagy (1895–1946) Hungarian artist

Art of the 20th century, Part 1 by Karl Ruhrberg, Klaus Honnef, Manfred Schneckenburger, Ingo F. Walther, Christiane Fricke (2000) p. 178.

Erwin Schrödinger photo

“The sensation of colour cannot be accounted for by the physicist's objective picture of light-waves.”

Erwin Schrödinger (1887–1961) Austrian physicist

Mind and Matter (1958)

Joseph Stella photo
Percy Bysshe Shelley photo
John Suckling photo

“Her feet beneath her petticoat
Like little mice stole in and out,
As if they feared the light;
But oh, she dances such a way!
No sun upon an Easter-day
Is half so fine a sight.”

John Suckling (1609–1642) English poet

Ballad upon a Wedding. Compare: "Her pretty feet, like snails, did creep A little out, and then, As if they played at bo-peep, Did soon draw in again", Robert Herrick, To Mistress Susanna Southwell.
Other poems

Robert Delaunay photo
François de La Rochefoucauld photo
Wilfred Thesiger photo
Brian Cox (physicist) photo
Robert G. Ingersoll photo

“I belong to the Great Church which holds the world within its starlit aisles; that claims the great and good of every race and clime; that finds with joy the grain of gold in every creed, and floods with light and love the germs of good in every soul.”

Robert G. Ingersoll (1833–1899) Union United States Army officer

Robert G. Ingersoll, a declaration in discussion with Rev. Henry M. Field on Faith and Agnosticism, quoted in Vol. VI of Farrell's edition of his works, also in Hoyt's New Cyclopedia Of Practical Quotations (1922) edited by Kate Louise Roberts, p. 663.

Fridtjof Nansen photo

“The history of the human race is a continual struggle from darkness towards light. It is, therefore, to no purpose to discuss the use of knowledge; man wants to know, and when he ceases to do so, he is no longer man.”

Fridtjof Nansen (1861–1930) Norwegian polar explorer and Nobel Peace Prize laureate

[Nansen, Fridtjof, A New Route to the North Pole, https://books.google.com/books?id=KPoLAAAAMAAJ&pg=PA693, 11, August 1891, The Forum, 693–709]

Thomas Carlyle photo

“Can the man say, Fiat lux, Let there be light; and out of chaos make a world? Precisely as there is light in himself, will he accomplish this.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

1840s, Heroes and Hero-Worship (1840), The Hero as Poet

C. J. Cherryh photo
Algernon Charles Swinburne photo
Nikos Kazantzakis photo
Hans Urs Von Balthasar photo
John Ruskin photo
Patrick White photo
George Hendrik Breitner photo

“Hartenstraat - the air is strong light - houses, illuminated from the top, left - flags translucent (translation from the original Dutch, Fons Heijnsbroek)”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

version in original Dutch / werk-notities van Breitner, in het Nederlands:
Hartenstraat - 1 uur 's middags - de vlaggen werpen schaduw op de huizen
Hartenstraat - de lucht is sterk licht - huizen, links van boven verlicht - vlaggen doorschijnend
two working-notes, (1890-1895) from his sketch-books; as cited in George Hendrik Breitner in Amsterdam, J. F. Heijbroek, Erik Schmitz; uitgeverij THOTH, Bussum, 2014, p. 38
1890 - 1900

“The Grateful Dead are faster than light drive.”

Ken Kesey (1935–2001) novelist

Inside cover of "The Grateful Dead" LP (1967)

Billy Joel photo
Isaac Rosenberg photo
P.G. Wodehouse photo
Dejan Stojanovic photo

“You ask how it is possible
To be your own father and son.

You should seek answers,
Although it is better to anticipate some,
To be the light and dream.”

Dejan Stojanovic (1959) poet, writer, and businessman

"Father and Son," p. 13
The Shape (2000), Sequence: “Home of the Shape”

John Berridge photo

“Make me like a little child,
Simple, teachable, and mild;
Seeing only in Thy light;
Walking only in Thy might!”

John Berridge (1716–1793) British priest

Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 334.

Adam Zagajewski photo
John Harvey Kellogg photo
Jim Steinman photo
Pierre-Auguste Renoir photo
Alexander Maclaren photo
George Meredith photo
Charles Darwin photo
Mike Scott photo

“You are an eternal being of love
you are the light of the world.”

Mike Scott (1958) songwriter, musician

"E.B.O.L."
Universal Hall (2003)

William Blake photo
Simone de Beauvoir photo
Anthony Ashley-Cooper, 3rd Earl of Shaftesbury photo

“On May 17, 1969, a show which was to become the seminal exhibition of video art in the U. S. opened at the Howard Wise Gallery in New York City. That exhibition, "TV as a Creative Medium," effectively pointed to the diverse potential of a new art form and social tool. Subsequently, the show became renowned for the inspiration it provided for many artists and future advocates of video. The artists represented in the show, a few of whom are still involved in the medium today, came from varied backgrounds-painting, filmmaking, nuclear physics, avant-garde music and performance, kinetic and light sculpture-and their approaches presented a primer of the directions which video would soon take. Theoretically, they variously saw video as viewer participation, a spiritual and meditative experience, a mirror, an electronic palette, a kinetic sculpture, or acultural machine to be deconstructed. Ripe with ideas and armed with a heady optimism about the future of communications, these artists used video as an information tool and as a means of gaining understanding and control of television, not solely as an art form. In "TV as a Creative Medium" alternative television was presented as a stepping stone to the promised communications utopia.”

Marita Sturken (1957) American academic

Marita Sturken. " TV as a Creative Medium: Howard Wise and Video Art http://www.vasulka.org/archive/4-30c/AfterImageMay84(1004).pdf," in: Afterimage, May 1984

George Holmes Howison photo
Elton John photo
Curtis Mayfield photo
Matthew Arnold photo

“Glories, like glowworms, afar off shine bright,
But looked to near have neither heat nor light.”

John Webster (1578–1634) English dramatist

Act IV, scene ii.
Duchess of Malfi (1623)

Orson Pratt photo

“When, where, and how were you, Joseph Smith, first called? How old were you? and what were you qualifications? I was between fourteen and fifteen years of age. Had you been to college? No. Had you studied in any seminary of learning? No. Did you know how to read? Yes. How to write? Yes. Did you understand much about arithmetic? No. About grammar? No. Did you understand all the branches of education which are generally taught in our common schools? No. But yet you say the Lord called you when you were but fourteen or fifteen years of age? How did he call you? I will give you a brief history as it came from his own mouth. I have often heard him relate it. He was wrought upon by the Spirit of God, and felt the necessity of repenting of his sins and serving God. He retired from his father's house a little way, and bowed himself down in the wilderness, and called upon the name of the Lord. He was inexperienced, and in great anxiety and trouble of mind in regard to what church he should join. He had been solicited by many churches to join with them, and he was in great anxiety to know which was right. He pleaded with the Lord to give him wisdom on the subject; and while he was thus praying, he beheld a vision, and saw a light approaching him from the heavens; and as it came down and rested on the tops of the trees, it became more glorious; and as it surrounded him, his mind was immediately caught away from beholding surrounding objects. In this cloud of light he saw two glorious personages; and one, pointing to the other, said, "Behold my beloved son! hear ye him."”

Orson Pratt (1811–1881) Apostle of the LDS Church

Journal of Discourses 7:220 (August 14, 1859).
Joseph Smith Jr.'s First Vision

Alfred Horsley Hinton photo
Joseph Campbell photo
David Rockefeller photo
Bernard Cornwell photo
Hartley Coleridge photo
Eugène Delacroix photo
Muhammad photo
Andy Goldsworthy photo

“Movement, change, light, growth, and decay are the life-blood of nature, the energies that I try to tap through my work.”

Andy Goldsworthy (1956) British sculptor and photographer

Stone River Enters Stanford University's Outdoor Art Collection http://ccva.stanford.edu/Goldsworthy.html (4 September 2001)

Yehuda Ashlag photo
John Ruysbroeck photo
Ian McDonald photo
Letitia Elizabeth Landon photo
Bertolt Brecht photo

“And when she was finished they laid her in earth
Flowers growing, butterflies juggling over her…
She, so light, barely pressed the earth down
How much pain it took to make her as light as that!”

Bertolt Brecht (1898–1956) German poet, playwright, theatre director

"To my mother" [Meiner Mutter] (May 1920), trans. John Willett in Poems, 1913-1956, p. 49
Poems, 1913-1956 (1976)

George Chapman photo
George William Russell photo
James Francis Stephens photo
Alice Cary photo

“Yea, when mortality dissolves,
 Shall I not meet thine hour unawed?
My house eternal in the heavens
 Is lighted by the smile of God!”

Alice Cary (1820–1871) American writer

"Reconciled" in A Memorial of Alice and Phoebe Cary: with some of their later poems (1875) edited by Mary Clemmer Ames, p. 182.

Van Morrison photo
Henry Wadsworth Longfellow photo