Quotes about locomotive

A collection of quotes on the topic of locomotive, modernity, likeness, work.

Quotes about locomotive

Karl Marx photo

“Nature builds no machines, no locomotives, railways, electric telegraphs, self-acting mules etc. These are products of human industry; natural material transformed into organs of the human will over nature, or of human participation in nature. They are organs of the human brain, created by the human hand; the power of knowledge, objectified. The development of fixed capital indicates to what degree general social knowledge has become a direct force of production, and to what degree, hence, the conditions of the process of social life itself have come under the control of the general intellect and been transformed in accordance with it.”

Karl Marx (1818–1883) German philosopher, economist, sociologist, journalist and revolutionary socialist

Die Natur baut keine Maschinen, keine Lokomotiven, Eisenbahnen, electric telegraphs, selfacting mules etc. Sie sind Produkte der menschlichen Industrie; natürliches Material, verwandelt in Organe des menschlichen Willens über die Natur oder seiner Betätigung in der Natur. Sie sind von der menschlichen Hand geschaffene Organe des menschlichen Hirns; vergegenständliche Wissenskraft. Die Entwicklung des capital fixe zeigt an, bis zu welchem Grade das allgemeine gesellschaftliche Wissen, knowledge, zur unmittelbaren Produktivkraft geworden ist und daher die Bedingungen des gesellschaftlichen Lebensprozesses selbst unter die Kontrolle des general intellect gekommen, und ihm gemäß umgeschaffen sind.
(1857/58)
Source: Notebook VII, The Chapter on Capital, p. 626.

Jules Verne photo
Leon Trotsky photo

“No one yet has learned to drive a locomotive sitting in his study.”

Source: Terrorism and Communism (1920), Ch. 7, p. 101

Karl Marx photo

“Revolutions are the locomotives of history.”

Karl Marx (1818–1883) German philosopher, economist, sociologist, journalist and revolutionary socialist

Chapter 3, The Class Struggles in France, 1848 to 1850 https://www.marxists.org/archive/marx/works/1850/class-struggles-france/ch03.htm (1850)

Karen Marie Moning photo

“I'm his locomotive and he's my shield.”

Karen Marie Moning (1964) author

Source: Iced

Rick Riordan photo
Jerome Frank photo
Robert T. Bakker photo
Steve Jobs photo
Willa Cather photo
Frederick Douglass photo

“But are there not reasons against all this? Is there not such a law or principle as that of self-preservation? Does not every race owe something to itself? Should it not attend to the dictates of common sense? Should not a superior race protect itself from contact with inferior ones? Are not the white people the owners of this continent? Have they not the right to say what kind of people shall be allowed to come here and settle? Is there not such a thing as being more generous than wise? In the effort to promote civilization may we not corrupt and destroy what we have? Is it best to take on board more passengers than the ship will carry? To all this and more I have one among many answers, altogether satisfactory to me, though I cannot promise it will be entirely so to you. I submit that this question of Chinese immigration should be settled upon higher principles than those of a cold and selfish expediency. There are such things in the world as human rights. They rest upon no conventional foundation, but are eternal, universal and indestructible. Among these is the right of locomotion; the right of migration; the right which belongs to no particular race, but belongs alike to all and to all alike. It is the right you assert by staying here, and your fathers asserted by coming here. It is this great right that I assert for the Chinese and the Japanese, and for all other varieties of men equally with yourselves, now and forever. I know of no rights of race superior to the rights of humanity, and when there is a supposed conflict between human and national rights, it is safe to go the side of humanity. I have great respect for the blue-eyed and light-haired races of America. They are a mighty people. In any struggle for the good things of this world, they need have no fear, they have no need to doubt that they will get their full share. But I reject the arrogant and scornful theory by which they would limit migratory rights, or any other essential human rights, to themselves, and which would make them the owners of this great continent to the exclusion of all other races of men. I want a home here not only for the negro, the mulatto and the Latin races, but I want the Asiatic to find a home here in the United States, and feel at home here, both for his sake and for ours.”

Frederick Douglass (1818–1895) American social reformer, orator, writer and statesman

1860s, Our Composite Nationality (1869)

Kurt Lewin photo
Oliver Lodge photo
Carole King photo
Rahm Emanuel photo

“Rahm Emanuel is son of the devil's spawn. He is an individual who would sell his mother to get a vote. He would strap his children to the front end of a steam locomotive.”

Rahm Emanuel (1959) politician, investment banker, White House Chief of Staff

Rep. Eric Massa (D-NY). http://www.realclearpolitics.com/video/2010/03/08/massa_rahm_emanuel_would_sell_his_own_mother_for_votes.html
About

Theo van Doesburg photo

“In all these products, whether iron bridges, locomotives, automobiles, telescopes, cottages, airport-hangars, funicular railways, skyscrapers, or children's toys, the will towards a new style expresses itself. The similarity of these examples to the new creations in art consists in the same striving for clear, pure form which expresses truth in the objects.”

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

Quote from 'The will to Style', in Dutch art-magazine De Stijl February-March 1922; as quoted in 'Theo van Doesburg', Joost Baljeu, Studio Vista, London 1974, p. 123
1920 – 1926

Oliver Lodge photo

“All potential energy exists in the ether. It may vibrate, and it may rotate, but as regards locomotion it is stationary—the most stationary body we know: absolutely stationary, so to speak; our standard of rest.”

Oliver Lodge (1851–1940) British physicist

The Ether of Space https://books.google.com/books?id=ycgEAAAAYAAJ&pg=PA118, p. 118
The Ether of Space (1909)

Fortunato Depero photo

“The Futurists were the first painters, poets, and architects who exalted modern work with their art—
they painted speeding automobiles—
they painted lamps bursting with light—
they painted steaming locomotives and swift bicyclists—
the Futurists stylized their compositions, adopting a violently colored look; with synoptic and geometric shapes they multiplied and decomposed the rhythms of objects and landscapes in order to increase their dynamic qualities and to give an effective rendering of their swift ideas, the states of mind, their conceptions.”

Fortunato Depero (1892–1960) Italian painter, writer, sculptor and graphic designer

Depero (1931) "Futurism and Adverticing Art"; Republished in: Futurism : an anthology http://modernistarchitecture.files.wordpress.com/2011/09/ebooksclub-org__futurism__an_anthology__henry_mcbride_series_in_modernism_.pdf. edited by Lawrence Rainey, Christine Poggi, and Laura Wittman, (2011), p. 290

Letitia Elizabeth Landon photo
Jane Roberts photo
Fernand Léger photo
Edgar Degas photo

“Draw all kind of everyday object placed, in such a way that they have in them the life of the man or woman – corsets that have just been removed, for example, and which retain the form of the body. Do a series in aquatint on mourning, different blacks – black veils of deep mourning floating on the face – black gloves – mourning carriages, undertaker’s vehicles – carriages like Venetian gondolas. On smoke – smoker’s smoke, pipes, cigarettes, cigars – smoke from locomotives, from tall factory chimneys, from steam boats, etc. On evening – infinite variety of subjects in cafes, different tones of glass robes reflected in the mirrors. On bakery, bread. Series of baker's boys, seen in the cellar itself or through the basement windows from the street – backs the colour of the pink flour – beautiful curves of dough – still-life's of different breads, large, oval, long, round, etc. Studies in color of the yellows, pinks, grays, whites of bread…… Neither monuments nor houses have ever been done from below, close up as they appear when you walk down the street. [a working note in which Degas planned series of views of modern Paris, the same time when he sketched the backstreet brothels, making graphic unflinching and even his realistic 'pornographic' sketches he called his 'glimpses through the keyhole', in which he also experimented with perspectives]”

Edgar Degas (1834–1917) French artist

Quote from Degas' Notebooks; Clarendon Press, Oxford 1976, nos 30 & 34 circa 1877; as quoted in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 182
quotes, undated

Rebecca Solnit photo
Ernst Ludwig Kirchner photo

“I was born near a station. The first things that I saw in my life were the moving locomotives and trains, and I drew them as a three-year-old. Perhaps it is because of this that observations of movement are my impetus for my inspiration to create. Out of this I receive a creative experience of life, which is the source of creativity.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

Kirchner had been inspired by movement and trains his whole life. He painted a. o. 'Nollendorfplatz' in West Berlin https://commons.wikimedia.org/wiki/File:Ernst_Ludwig_Kirchner_-_Nollendorfplatz.jpg - it was one of the stops on the first electrical tram (Straßenbahn) in 1896, according to 'Lexicon der Berliner Stadtentwicklung'. Berlin, 2002. The Underground (Untergrundbahn) followed in 1902, also with a stop at 'Nollendorfplatz'
undated
Source: Ernst Ludwig Kirchner: ein Künstlerleben in Selbstzeugnissen, Andreas Gabelmann; Hatje Cantz Verlag, Ostfildern, Germany 2010, p. 17 (transl. Claire Albiez)

Neal Stephenson photo
William L. Shirer photo
Maimónides photo
Filippo Tommaso Marinetti photo

“11. We shall sing the great masses shaken with work, pleasure, or rebellion: we shall sing the multicolored and polyphonic tidal waves of revolution in the modern metropolis; shall sing the vibrating nocturnal fervor of factories and shipyards burning under violent electrical moons; bloated railroad stations that devour smoking serpents; factories hanging from the sky by the twisting threads of spiraling smoke; bridges like gigantic gymnasts who span rivers, flashing at the sun with the gleam of a knife; adventurous steamships that scent the horizon, locomotives with their swollen chest, pawing the tracks like massive steel horses bridled with pipes, and the oscillating flight of airplanes, whose propeller flaps at the wind like a flag and seems to applaud like a delirious crowd.”

Filippo Tommaso Marinetti (1876–1944) Italian poet and editor, founder of the Futurist movement

Original Italian text:
Noi canteremo le grandi folle agitate dal lavoro, dal piacere o dalla sommossa: canteremo le maree multicolori e polifoniche delle rivoluzioni nelle capitali moderne; canteremo il vibrante fervore notturno degli arsenali e dei cantieri incendiati da violente lune elettriche; le stazioni ingorde, divoratrici di serpi che fumano; le officine appese alle nuvole pei contorti fili dei loro fumi; i ponti simili a ginnasti giganti che scavalcano i fiumi, balenanti al sole con un luccichio di coltelli; i piroscafi avventurosi che fiutano l'orizzonte, le locomotive dall'ampio petto, che scalpitano sulle rotaie, come enormi cavalli d'acciaio imbrigliati di tubi, e il volo scivolante degli aereoplani, la cui elica garrisce al vento come una bandiera e sembra applaudire come una folla entusiasta.
Source: 1900's, The Founding and Manifesto of Futurism' 1909, p. 52 : Last bullet-item in THE MANIFESTO OF FUTURISM

Albert Einstein photo
I. A. Richards photo

“A book is a machine to think with, but it need not, therefore, usurp the functions either of the bellows or the locomotive.”

I. A. Richards (1893–1979) English literary critic and rhetorician

[Richards, I. A., Principles of Literary Criticism, 1924]
Principles of Literary Criticism

Charles Stross photo
Daniel McCallum photo
Thomas Henry Huxley photo
Suraj Sani photo

“No one wants to tell the tale of being robbed by an old woman whose locomotion is assisted by hand-carved staff.”

Suraj Sani (1996) Nigerian writer, Spoken word artist

Source: Quotes from Thorns in The desert, P. 10.