Quotes about note
page 6

Maxwell D. Taylor photo
Ian McCulloch photo
Howard S. Becker photo
Donald A. Norman photo
Narendra Modi photo
Peter L. Berger photo
Dave Chappelle photo

“Neurotics dream of a good life, or a great suicide note.”

Mignon McLaughlin (1913–1983) American journalist

The Complete Neurotic's Notebook (1981), Neurotics and neurosis

“Earlier fundamental work of Whitehead, Russell, Wittgenstein, Carnap, Whorf, etc., as well as my own attempt to use this earlier thinking as an epistemological base for psychiatric theory, led to a series of generalizations: That human verbal communication can operate and always does operate at many contrasting levels of abstraction. These range in two directions from the seemingly simple denotative level (“The cat is on the mat”). One range or set of these more abstract levels includes those explicit or implicit messages where the subject of discourse is the language. We will call these metalinguistic (for example, “The verbal sound ‘cat’ stands for any member of such and such class of objects”, or “The word, ‘cat’ has no fur and cannot scratch”). The other set of levels of abstraction we will call metacommunicative (e. g., “My telling you where to find the cat was friendly”, or “This is play”). In these, the subject of discourse is the relationship between the speakers. It will be noted that the vast majority of both metalinguistic and metacommunicative messages remain implicit; and also that, especially in the psychiatric interview, there occurs a further class of implicit messages about how metacommunicative messages of friendship and hostility are to be interpreted.”

Gregory Bateson (1904–1980) English anthropologist, social scientist, linguist, visual anthropologist, semiotician and cyberneticist

Gregory Bateson (1955) " A theory of play and fantasy http://sashabarab.com/syllabi/games_learning/bateson.pdf". In: Psychiatric research reports, 1955. pp. 177-178] as cited in: S.P. Arpaia (2011) " Paradoxes, circularity and learning processes http://www2.units.it/episteme/L&PS_Vol9No1/L&PS_Vol9No1_2011_18b_Arpaia.pdf". In: L&PS – Logic & Philosophy of Science, Vol. IX, No. 1, 2011, pp. 207-222

“It should be noted that no ethically-trained software engineer would ever consent to write a DestroyBaghdad procedure. Basic professional ethics would instead require him to write a DestroyCity procedure, to which Baghdad could be given as a parameter.”

Nathaniel Borenstein (1957) American computer scientist

Footnote in a paper about computational email.
Computational Mail as Network Infrastructure for Computer-Supported Cooperative Work http://www.guppylake.com/~nsb/CSCW-ATOMICMAIL.txt
Collected quotes about computer languages http://www.sysprog.net/quotlang.html
Attributed

Barry Diller photo
Thomas Flanagan (political scientist) photo

“Finally, it should also be noted that the very existence of a bicameral legislature is itself another defence of the status quo.”

Thomas Flanagan (political scientist) (1944) author, academic, and political activist

Source: Game Theory and Canadian Politics (1998), Chapter 8, Staying Power of the Status Quo, p. 138

Lee Ritenour photo
Adolf Hitler photo

“I have sympathy for Mr. Roosevelt, because he marches straight toward his objectives over Congress, lobbies and bureaucracy." Hitler went on to note that he was the sole leader in Europe who expressed "understanding of the methods and motives of President Roosevelt.”

Adolf Hitler (1889–1945) Führer and Reich Chancellor of Germany, Leader of the Nazi Party

http://www.fff.org/freedom/0795a.asp New York Times 1934, as quoted from: Adolf Hitler: The Definitive Biography (1976) John Toland
1930s

Conrad Burns photo

“The Helena Independent Record, noted that "The senator has drawn attention previously for his choice of words."”

Conrad Burns (1935–2016) United States Marine

Feb 28, 2006 http://www.helenair.com/articles/2006/02/28/montana_top/000burns.txt
About

Charlotte Brontë photo

“The theatre was full — crammed to its roof: royal and noble were there; palace and hotel had emptied their inmates into those tiers so thronged and so hushed. Deeply did I feel myself privileged in having a place before that stage; I longed to see a being of whose powers I had heard reports which made me conceive peculiar anticipations. I wondered if she would justify her renown: with strange curiosity, with feelings severe and austere, yet of riveted interest, I waited. She was a study of such nature as had not encountered my eyes yet: a great and new planet she was: but in what shape? I waited her rising.She rose at nine that December night: above the horizon I saw her come. She could shine yet with pale grandeur and steady might; but that star verged already on its judgment-day. Seen near, it was a chaos — hollow, half-consumed: an orb perished or perishing — half lava, half glow.I had heard this woman termed "plain," and I expected bony harshness and grimness — something large, angular, sallow. What I saw was the shadow of a royal Vashti: a queen, fair as the day once, turned pale now like twilight, and wasted like wax in flame.For awhile — a long while — I thought it was only a woman, though an unique woman, who moved in might and grace before this multitude. By-and-by I recognized my mistake. Behold! I found upon her something neither of woman nor of man: in each of her eyes sat a devil. These evil forces bore her through the tragedy, kept up her feeble strength — for she was but a frail creature; and as the action rose and the stir deepened, how wildly they shook her with their passions of the pit! They wrote HELL on her straight, haughty brow. They tuned her voice to the note of torment. They writhed her regal face to a demoniac mask. Hate and Murder and Madness incarnate she stood.It was a marvellous sight: a mighty revelation.It was a spectacle low, horrible, immoral.Swordsmen thrust through, and dying in their blood on the arena sand; bulls goring horses disembowelled, made a meeker vision for the public — a milder condiment for a people's palate — than Vashti torn by seven devils: devils which cried sore and rent the tenement they haunted, but still refused to be exorcised.Suffering had struck that stage empress; and she stood before her audience neither yielding to, nor enduring, nor in finite measure, resenting it: she stood locked in struggle, rigid in resistance. She stood, not dressed, but draped in pale antique folds, long and regular like sculpture. A background and entourage and flooring of deepest crimson threw her out, white like alabaster — like silver: rather, be it said, like Death.”

Source: Villette (1853), Ch. XXIII: Vashi

Henry James photo
Baruch Spinoza photo
Saki photo
Joanna MacGregor photo
William Joyce photo

“A Note on the Mid Back Slack Unrounded Vowel [a] in the English of Today”

William Joyce (1906–1946) British fascist and propaganda broadcaster

Review of English Studies http://intl-res.oxfordjournals.org/cgi/reprint/os-IV/15/337, 1928 os-IV: 337-340.
Title of the first published work by Joyce.

Alastair Reynolds photo
Letitia Elizabeth Landon photo

“The problem with managing either a business or a prison by periodic rather than continuous inspection is that the "variables" are likely to be seriously out of control before the discrepancy is noted.”

Anthony Stafford Beer (1926–2002) British theorist, consultant, and professor

Source: Management Science (1968), Chapter 6, The Viable Governor, p. 146.

Max Beckmann photo

“My heart beats more for a rougher, more ordinary, more vulgar art that does not live in a poetic, fairy-tale dream but admits the fearful, the common, the magnificent, the ordinary, the banal grotesque in life. An art that can always be directly present to us when life is at its most real.. [ on the same day he noted:].. Martin thinks there will be a war. Russia England France against Germany. We agreed that it would be no bad thing for our rather demoralized present-day civilization if everyone's instincts and drives were to be harnessed to one cause..”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

Beckmann's Diary, 9 January, 1909, in Leben in Berlin: Tagebuch, 1908-1909, ed. Hans Kinkel; R. Piper & Co., Munich and Zurich, 1983, pp. 22-23; as quoted in 'Portfolios', Alexander Dückers; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 99
1900s - 1920s

Harrington Emerson photo
Robert Burton photo
Nicholas Hilliard photo
Burkard Schliessmann photo

“The listener with no preconceptions hears massive waves of sound breaking over him and forms from them the image of a passionate soul seeking and finding the path to faith and peace in God through a life of struggle and a vigorous pursuit of ideals. It is impossible not to hear the confessional tone of this musical language; Liszt’s sonata becomes - perhaps involuntarily on the part of the composer - an autobiographical document and one which reveals an artist in the Faustian mold in the person of its author. As in the Harmonies poétiques et religieuses, the underlying religious concept which dominates and permeates the whole work demands a special kind of approach. Whereas representations of human passions and conflicts force themselves on our understanding with their powerfully suggestive coloring, this concept only becomes manifest to those souls who are prepared to soar to the same heights. The equilibrium of the sonata’s hymnic chordal motif, the transformation of its defiant battle motif (first theme) into a triumphant fanfare, and its appearance in bright, high notes on the harp, together with the devotional atmosphere of the Andante, represent a particular challenge to the listener; he is, after all, also expected to grasp the wide-spanned arcs of sound which, from the first hesitant descending octaves to the radiant final chords, build up a graphic panorama of the various stages of progress of a human spirit filled with faith and hope. As the reflection of a remarkable artistic personality worthy of deep admiration and, by extension, of the whole Romantic period, Liszt’s B minor Sonata deserves lasting recognition.”

Burkard Schliessmann classical pianist

About the Liszt Sonata in B minor

Frederick Rolfe photo
Vitruvius photo

“One who in accordance with these notes will take pains in selecting his method of construction, may count upon having something that will last.”

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book II, Chapter VIII, Sec. 8

Sören Kierkegaard photo

“You have surely noticed among schoolboys, that the one that is regarded by all as the boldest is the one who has no fear of his father, who dares to say to the others, "Do you think I am afraid of him?" On the other hand, if they sense that one of their number is actually and literally afraid of his father, they will readily ridicule him a little. Alas, in men’s fear-ridden rushing together into a crowd (for why indeed does a man rush into a crowd except because he is afraid!) there, too, it is a mark of boldness not to be afraid, not even of God. And if someone notes that there is an individual outside the crowd who is really and truly afraid – not of the crowd, but of God, he is sure to be the target of some ridicule. The ridicule is usually glossed over somewhat and it is said: a man should love God. Yes, to be sure, God knows that man’s highest consolation is that God is love and that man is permitted to love Him. But let us not become too forward, and foolishly, yes, blasphemously, dismiss the tradition of our fathers, established by God Himself: that really and truly a man should fear God. This fear is known to the man who is himself conscious of being an individual, and thereby is conscious of his eternal responsibility before God.”

Sören Kierkegaard (1813–1855) Danish philosopher and theologian, founder of Existentialism

Søren Kierkegaard, Purity of Heart, 1847 Steere translation p. 196-197
1840s, Upbuilding Discourses in Various Spirits (1847), Purity of Heart (1847)

Peter Greenaway photo
Stanley Baldwin photo
Catherine Samba-Panza photo
Jeff Flake photo
Nick Cave photo
Rudolph Rummel photo

“Prokofiev had a particular talent for creating a fully identifiable mood within the first notes of a piece, passage, or theme.”

Boris Berman (1948) Russian/American musician

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Conclusion

“The fact that randomness requires a physical rather than a mathematical source is noted by almost everyone who writes on the subject, and yet the oddity of this situation is not much remarked.”

Brian Hayes (scientist) (1900) American scientist, columnist and author

Source: Group Theory in the Bedroom (2008), Chapter 2, Random Resources, p. 35

Willa Cather photo

“To note an artist's limitations is but to define his talent. A reporter can write equally well about everything that is presented to his view, but a creative writer can do his best only with what lies within the range and character of his deepest sympathies.”

Willa Cather (1873–1947) American writer and novelist

"Miss Jewett"; originally published as the Preface to The Best Stories of Sarah Orne Jewett (1925)
Not Under Forty (1936)

James McNeill Whistler photo
Louis C.K. photo
Mani Madhava Chakyar photo

““His historic talent was backed up by extraordinary erudition. Behind his wizardry with the eyes lay sustained practice undertaken with devotion and discipline”
- L. S Rajagopalan (noted art critic), 1990”

Mani Madhava Chakyar (1899–1990) Indian actor

Source: Abhinaya and Netrābhinaya, L.S Rajagopalan, Mani Madhava Chakyar- A Titan of A Thespian, Sruti- India's premier Music and Dance magazine, August 1990 issue (71).

Alan Greenspan photo
Andrew Paterson photo
John Milton photo
James Jeans photo
Richard Dawkins photo
Umberto Boccioni photo
Vladimir Lenin photo
Edward A. Shanken photo
Jerry Pournelle photo
Maimónides photo
Robert Falcon Scott photo
Calvin Coolidge photo

“When we look over the rest of the world, in spite of all its devastation there is encouragement to believe it is on a firmer moral foundation than it was in 1914. Much of the old despotism has been swept away, While some of it comes creeping back disguised under new names, no one can doubt that the general admission of the right of the people to self-government has made tremendous progress in nearly every quarter of the globe. In spite of the staggering losses and the grievous burden of taxation, there is a new note of hope for the individual to be more secure in his rights, which is unmistakably clearer than ever before. With all the troubles that beset the Old World, the former cloud of fear is evidently not now so appalling. It is impossible to believe that any nation now feels that it could better itself by war, and it is apparent to me that there has been a very distinct advance in the policy of peaceful and honorable adjustment of international differences. War has become less probable; peace has become more secure. The price which has been paid to bring about this new condition is utterly beyond comprehension. We can not see why it should not have come in orderly and peaceful methods without the attendant shock of fire and sword and carnage. We only know that it is here. We believe that on the ruins of the old order a better civilization is being constructed.”

Calvin Coolidge (1872–1933) American politician, 30th president of the United States (in office from 1923 to 1929)

1920s, Toleration and Liberalism (1925)

Sheri-D Wilson photo
Alfred Horsley Hinton photo

“The sky is as much an essential part of the picture as any other part of it, and indeed, in very many instances, constitutes the key-note and important feature of the whole idea.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Clouds. Their use, and practical instructions as to how to photography them, p. 92

Parker Palmer photo
Sister Nivedita photo
John Flavel photo
Andrew Dickson White photo
Stuart Kauffman photo
Joe Zawinul photo
Alexander Pope photo

“Such were the notes thy once lov'd poet sung,
Till death untimely stopp'd his tuneful tongue.”

Alexander Pope (1688–1744) eighteenth century English poet

"Epistle to Robert, Earl of Oxford and Mortimer" preface to Thomas Parnell's Poems on Several Occasions (1721).

James Lee Barrett photo
Shreya Ghoshal photo

“Reading the newspaper or watching the news in the morning. I don’t like starting my day on a bad note.”

Shreya Ghoshal (1984) Indian playback singer

What ruins my day http://www.hindustantimes.com/brunch/personal-agenda-shreya-ghoshal-singer/story-0Hub2ZaH7Dl0728vxDOfEK.html

Charles Sanders Peirce photo

“When anything is present to the mind, what is the very first and simplest character to be noted in it, in every case, no matter how little elevated the object may be? Certainly, it is its presentness.”

Charles Sanders Peirce (1839–1914) American philosopher, logician, mathematician, and scientist

Lecture II : The Universal Categories, § 1 : Presentness, CP 5.44
Pragmatism and Pragmaticism (1903)

John Gay 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

Letitia Elizabeth Landon photo

“What is the world that lies around our own? Shadowy, unsubstantial, and wonderful are the viewless elements, peopled with spirits powerful and viewless as the air which is their home. From the earth's earliest hour, the belief in the supernatural has been universal. At first the faith was full of poetry; for, in those days, the imagination walked the earth even as did the angels, shedding their glory around the children of men. The Chaldeans watched from their lofty towers the silent beauty of night — they saw the stars go forth on their appointed way, and deemed that they bore with them the mighty records of eternity. Each separate planet shone on some mortal birth, and as its aspect was for good or for evil, such was the aspect of the fortunes that began beneath its light. Those giant watch-towers, with their grey sages, asked of the midnight its mystery, and held its starry roll to be the chronicle of this breathing world. Time past on, angels visited the earth no more, and the divine beliefs of young imagination grew earthlier. Yet poetry lingered in the mournful murmur of the oaks of Dodona, and in the fierce war song of the flying vultures, of whom the Romans demanded tidings of conquest. But prophecy gradually sank into divination, and it is a singular proof of the extent both of human credulity and of curiosity, to note the various methods that have had the credit of forestalling the future. From the stars to a tea-cup is a fall indeed”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

Literary Remains

Hans von Bülow photo
Luther H. Gulick photo
Roger Joseph Boscovich photo

“But if some mind very different from ours were to look upon some property of some curved line as we do on the evenness of a straight line, he would not recognize as such the evenness of a straight line; nor would he arrange the elements of his geometry according to that very different system, and would investigate quite other relationships as I have suggested in my notes.
We fashion our geometry on the properties of a straight line because that seems to us to be the simplest of all. But really all lines that are continuous and of a uniform nature are just as simple as one another. Another kind of mind which might form an equally clear mental perception of some property of any one of these curves, as we do of the congruence of a straight line, might believe these curves to be the simplest of all, and from that property of these curves build up the elements of a very different geometry, referring all other curves to that one, just as we compare them to a straight line. Indeed, these minds, if they noticed and formed an extremely clear perception of some property of, say, the parabola, would not seek, as our geometers do, to rectify the parabola, they would endeavor, if one may coin the expression, to parabolify the straight line.”

Roger Joseph Boscovich (1711–1787) Croat-Italian physicist

"Boscovich's mathematics", an article by J. F. Scott, in the book Roger Joseph Boscovich (1961) edited by Lancelot Law Whyte.
"Transient pressure analysis in composite reservoirs" (1982) by Raymond W. K. Tang and William E. Brigham.
"Non-Newtonian Calculus" (1972) by Michael Grossman and Robert Katz.

“We cannot walk befor we toddle,
Though we may toddle far too long,
If we embrace a lovely Model
That is consistent, clear, and wrong.
- Experts from "Notes from Wooods Hole", unpublished, 1976.”

Kenneth E. Boulding (1910–1993) British-American economist

Source: 1980s, Illustrating Economics: Beasts, Ballads and Aphorisms, 1980, p. 148

Hartley Coleridge photo
Pat Conroy photo
Bill O'Reilly photo
Nicole Krauss photo

“Franz Kafka is dead.He died in a tree from which he wouldn't come down. "Come down!" they cried to him. "Come down! Come down!" Silence filled the night, and the night filled the silence, while they waited for Kafka to speak. "I can't," he finally said, with a note of wistfulness. "Why?" they cried. Stars spilled across the black sky. "Because then you'll stop asking for me." The people whispered and nodded among themselves. […] They turned and started for home under the canopy of leaves. Children were carried on their fathers' shoulders, sleepy from having been taken to see who wrote his books on pieces of bark he tore off the tree from which he refused to come down. In his delicate, beautiful, illegible handwriting. And they admired those books, and they admired his will and stamina. After all: who doesn't wish to make a spectacle of his loneliness? One by one families broke off with a good night and a squeeze of the hands, suddenly grateful for the company of neighbors. Doors closed to warm houses. Candles were lit in windows. Far off, in his perch in the trees, Kafka listened to it all: the rustle of the clothes being dropped to the floor, or lips fluttering along naked shoulders, beds creaking along the weight of tenderness. That night a freezing wind blew in. When the children woke up, they went to the window and found the world encased in ice.”

Source: The History of Love (2005), P. 187

Herbert Spencer photo

“What is essential to the idea of a slave? We primarily think of him as one who is owned by another. To be more than nominal, however, the ownership must be shown by control of the slave's actions — a control which is habitually for the benefit of the controller. That which fundamentally distinguishes the slave is that he labours under coercion to satisfy another's desires. The relation admits of sundry gradations. Remembering that originally the slave is a prisoner whose life is at the mercy of his captor, it suffices here to note that there is a harsh form of slavery in which, treated as an animal, he has to expend his entire effort for his owner's advantage. Under a system less harsh, though occupied chiefly in working for his owner, he is allowed a short time in which to work for himself, and some ground on which to grow extra food. A further amelioration gives him power to sell the produce of his plot and keep the proceeds. Then we come to the still more moderated form which commonly arises where, having been a free man working on his own land, conquest turns him into what we distinguish as a serf; and he has to give to his owner each year a fixed amount of labour or produce, or both: retaining the rest himself. Finally, in some cases, as in Russia before serfdom was abolished, he is allowed to leave his owner's estate and work or trade for himself elsewhere, under the condition that he shall pay an annual sum. What is it which, in these cases, leads us to qualify our conception of the slavery as more or less severe? Evidently the greater or smaller extent to which effort is compulsorily expended for the benefit of another instead of for self-benefit. If all the slave's labour is for his owner the slavery is heavy, and if but little it is light. Take now a further step. Suppose an owner dies, and his estate with its slaves comes into the hands of trustees; or suppose the estate and everything on it to be bought by a company; is the condition of the slave any the better if the amount of his compulsory labour remains the same? Suppose that for a company we substitute the community; does it make any difference to the slave if the time he has to work for others is as great, and the time left for himself is as small, as before? The essential question is—How much is he compelled to labour for other benefit than his own, and how much can he labour for his own benefit? The degree of his slavery varies according to the ratio between that which he is forced to yield up and that which he is allowed to retain; and it matters not whether his master is a single person or a society. If, without option, he has to labour for the society, and receives from the general stock such portion as the society awards him, he becomes a slave to the society.”

Herbert Spencer (1820–1903) English philosopher, biologist, sociologist, and prominent classical liberal political theorist

The Man versus the State (1884), The Coming Slavery

Francis Heylighen photo
Narada Maha Thera photo