Quotes about perception
page 5

Chris Hedges photo

“Most of these who are thrust into combat soon find it impossible to maintain the mythic perception of war.”

Chris Hedges (1956) American journalist

Source: War Is a Force that Gives Us Meaning

James Fenimore Cooper photo
Octavio Paz photo
Albrecht Thaer photo
Valerie Jarrett photo

“Michelle was so mature beyond her years, so thoughtful and perceptive. She really prodded me about what the job would be like because she had lots of choices. I offered it to her on the spot, which was totally inappropriate because I should have talked to the mayor first. But I just knew she was really special.
Barack never grills. That's part of what is so effective about him: He puts you completely at ease, and the next thing you know he's asking more and more probing questions and gets you to open up and reflect a little bit. That night we talked about his childhood compared to my childhood and realized we both had rather…unusual childhoods.
Married in 1983, separated in 1987, and divorced in 1988. Enough said. He was a physician. He passed away. I want to say in about 1991.
We grew up together. We were friends since childhood. In a sense, he was the boy next door. I married without really appreciating how hard divorce would be.
I have to tell you: My daughter is in seventh heaven about me being in Vogue. Nothing else I have done has fazed her at all. But this! She's like, 'Oh, Mom. You don't understand. This is really big.'
I have never heard him yell, Ever. Not once in seventeen years. He's not a yeller.
Because my dad worked at the university, he could swing by and take Laura to school and pick her up from her first day of nursery school until the day she graduated from high school. They would often have breakfast and have these wonderful conversations.”

Valerie Jarrett (1956) Chicago lawyer, businesswoman, civic leader; senior advisor to U.S. Senator Barack Obama

September 2008 interview with Vogue https://web.archive.org/web/20080930190831/http://www.style.com/vogue/feature/2008_Oct_Valerie_Jarrett//

Leo Tolstoy photo
El Lissitsky photo
Beverly Sills photo
Maimónides photo
Stanley A. McChrystal photo
Jacques Derrida photo
Alexander Mackenzie photo
Yaron London photo
Revilo P. Oliver photo
Octavio Paz photo

“no reality is mine, no reality belongs to me (to us), we all live somewhere else, beyond where we are, we are all a reality different from the word I or the word we;
our most intimate reality lies outside ourselves and is not ours, and it is not one but many, plural and transitory, we are this plurality that is continually dissolving, the self is perhaps real, but the self is not I or you or he, the self is neither mine nor yours,
it is a state, a blink of the eye, it is the perception of a sensation that is vanishing, but who or what perceives, who senses?
are the eyes that look at what I write the same eyes that I say are looking at what I write?
we come and go between the word that dies away as it is uttered and the sensation that vanishes in perception—although we do not know who it is that utters the word nor who it is that perceives, although we do know that the self that perceives something that is vanishing also vanishes in this perception: it is only the perception of that self s own extinction,
we come and go: the reality beyond names is not habitable and the reality of names is a perpetual falling to pieces, there is nothing solid in the universe, in the entire dictionary there is not a single word on which to rest our heads, everything is a continual coming and going from things to names to things,
no, I say that I perpetually come and go but I haven’t moved, as the tree has not moved since I began to write,
inexact expressions once again: I began, I write, who is writing what I am reading?, the question is reversible: what am I reading when I write: who is writing what I am reading?”

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

Source: The Monkey Grammarian (1974), Ch. 9

Jane Roberts photo
Zoey Deutch photo
Hans Reichenbach photo
Aldous Huxley photo
Arthur Conan Doyle photo

“Your perceptions create your reality.”

Source: Life, the Truth, and Being Free (2010), p. 89

Clifford D. Simak photo
Thomas Kuhn photo
Maimónides photo
Edward Burns photo
Kurt Lewin photo
Leonard Mlodinow photo

“Perception requires imagination because the data people encounter in their lives are never complete and always equivocal.”

Source: The Drunkard's Walk, Chapter 9, Illusions Of Pattens And Patterns Of Illusions, p. 170-171

Andrey Voznesensky photo
Salma Hayek photo

“In a certain sense human activity systems do not exist, only perceptions of them exist, perceptions which are associated with specific Ws.”

Peter Checkland (1930) British management scientist

Source: Systems Thinking, Systems Practice, 1981, p. 219 as cited in: Robert L. Flood, Norma R.A. Romm (1997) Critical Systems Thinking. p. 206

Sam Harris photo
Gregory of Nyssa photo

“Just as, in the case of the sunlight, on one who has never from the day of his birth seen it, all efforts at translating it into words are quite thrown away; you cannot make the splendour of the ray shine through his ears; in like manner, to see the beauty of the true and intellectual light, each man has need of eyes of his own; and he who by a gift of Divine inspiration can see it retains his ecstasy unexpressed in the depths of his consciousness; while he who sees it not cannot be made to know even the greatness of his loss. How should he? This good escapes his perception, and it cannot be represented to him; it is unspeakable, and cannot be delineated. We have not learned the peculiar language expressive of this beauty. … What words could be invented to show the greatness of this loss to him who suffers it? Well does the great David seem to me to express the impossibility of doing this. He has been lifted by the power of the Spirit out of himself, and sees in a blessed state of ecstacy the boundless and incomprehensible Beauty; he sees it as fully as a mortal can see who has quitted his fleshly envelopments and entered, by the mere power of thought, upon the contemplation of the spiritual and intellectual world, and in his longing to speak a word worthy of the spectacle he bursts forth with that cry, which all re-echo, "Every man a liar!"”

Gregory of Nyssa (335–395) bishop of Nyssa

I take that to mean that any man who entrusts to language the task of presenting the ineffable Light is really and truly a liar; not because of any hatred on his part of the truth, but because of the feebleness of his instrument for expressing the thing thought of.
On Virginity, Chapter 10

Lew Rockwell photo
Ervin László photo
Herbert A. Simon photo

“If we accept values as given and consistent, if we postulate an objective description of the world as it really is, and if we assume that the decision maker's computational powers are unlimited, then two important consequences follow. First, we do not need to distinguish between the real world and the decision maker's perception of it: he or she perceives the world as it really is. Second, we can predict the choices that will be made by a rational decision maker entirely from our knowledge of the real world and without a knowledge of the decision maker's perceptions or modes of calculation. (We do, of course, have to know his or her utility function.)
If, on the other hand, we accept the proposition that both the knowledge and the computational power of the decision maker are severely limited, then we must distinguish between the real world and the actor's perception of it and reasoning about it. That is to say, we must construct a theory (and test it empirically) of the processes of decision. Our theory must include not only the reasoning processes but also the processes that generate the actor's subjective representation of the decision problem, his or her frame.”

Herbert A. Simon (1916–2001) American political scientist, economist, sociologist, and psychologist

H.A. Simon (1986), " Rationality in psychology and economics http://www.kgt.bme.hu/targyak/msc/ng/BMEGT30MN40/data/JoBus-86-rationality-HSimon.pdf," Journal of Business, p. 210-11”
1980s and later

Johannes Grenzfurthner photo
Karl Mannheim photo
Michael Crichton photo
Seymour Papert photo
John Holt (Lord Chief Justice) photo
Tanith Lee photo

“Lir chiseled at the stone. It would take a month to make a perceptible impression on it. He had a few hours. Work harder, then.”

Source: The Castle of Dark (1978), Chapter 14 “Lir: The Night-Beast” (p. 119)

Géza Révész photo

“Ebbinghaus: Language is a system of conventional signs that can be voluntarily produced at any time.
Croce: Language is articulated, limited sound organized for the purpose of expression.
Dittrich: Language is the totality of expressive abilities of individual human beings and animals capable of being understood by at least one other individual.
Eisler: Language is any expression of experiences by a creature with a soul.
B. Erdmann: Language is not a kind of communication of ideas but a kind of thinking: stated or formulated thinking. Language is a tool, and in fact a tool or organ of thinking that is unique to us as human beings.
Forbes: Language is an ordered sequence of words by which a speaker expresses his thoughts with the intention of making them known to a hearer.
J. Harris : Words are the symbols of ideas both general and particular: of the general, primarily, essentially and immediately; of the particular, only secondarily, accidentally and mediately.
Hegel: Language is the act of theoretical intelligence in its true sense, for it is its outward expression.
Jespersen: Language is human activity which has the aim of communicating ideas and emotions.
Jodl: Verbal language is the ability of man to fashion, by means of combined tones and sounds based on a limited numbers of elements, the total stock of his perceptions and conceptions in this natural tone material in such a way that this psychological process is clear and comprehensible to others to its least detail.
Kainz : Language is a structure of signs, with the help of which the representation of ideas and facts may be effected, so that things that are not present, even things that are completely imperceptible to the senses, may be represented.
De Laguna: Speech is the great medium through which human co-operation is brought about.
Marty: Language is any intentional utterance of sounds as a sign of a psychic state.
Pillsbury-Meader: Language is a means or instrument for the communication of thought, including ideas and emotions.
De Saussure: Language is a system of signs expressive of ideas.
Schuchardt. The essence of language lies in communication.
Sapir: Language is a purely human and non-instinctive method of communicating ideas, emotions and desires by means of a system of voluntarily produced symbols.”

Géza Révész (1878–1955) Hungarian psychologist and musicologist

Footnote at pp. 126-127; As cited in: Adam Schaff (1962). Introduction to semantics, p. 313-314
The Origins and Prehistory of Language, 1956

Femi Taylor photo
Gautama Buddha photo
George Herbert Mead photo
Frank Wilczek photo

“We have heard that nature can sing some strange and unfamiliar songs. In coming to appreciate these songs, we develop a heightened perception… leavened by an admixture of our own creation…”

Frank Wilczek (1951) physicist

Source: Longing for the Harmonies: Themes and Variations from Modern Physics (1987), Ch.32 Hidden Harmonies

Charles Sanders Peirce photo
Octavio Paz photo

“time in an allegory of itself imparts to us lessons of wisdom which the moment they are formulated are immediately destroyed by the merest flickers of light or shadow which are nothing more than time in its incarnations and disincarnations which are the phrases that I am writing on this paper and that disappears as I read them:
they are not the sensations, the perceptions, the mental images, and the thoughts which flare up and die away here, now, as I write or as I read what I write: they are not what I see or what I have seen, they are the reverse of what is seen and of the power of sight—but they are not the invisible: they are the unsaid residuum;
they are not the other side of reality but, rather, the other side of language, what we have on the tip of our tongue that vanishes before it is said, the other side that cannot be named because it is the opposite of a name:
what is not said is not this or that which we leave unsaid, nor is it neither-this-nor-that: it is not the tree that I say I see but the sensation that I feel on sensing that I see it at the moment when I am just about to say that I see it, an insubstantial but real conjunction of vibrations and sounds and meanings that on being combined suggest the configuration of a green-bronze-black-woody-leafy-sonorous-silent presence;
no, it is not that either, if it is not a name it surely cannot be the description of a name or the description of the sensation of the name or the name of the sensation:
a tree is not the name tree, nor is it the sensation of tree: it is the sensation of a perception of tree that dies away at the very moment of the perception of the sensation of tree;
names, as we already know, are empty, but what we did not know, or if we did know, had forgotten, is that sensations are perceptions of sensations that die away, sensations that vanish on becoming perceptions, since if they were not perceptions, how would we know that they are sensations?;
sensations that are not perceptions are not sensations, perceptions that are not names—what are they?
if you didn’t know it before, you know now: everything is empty;
and the moment I say everything-is-empty, I am aware that I am falling into a trap: if everything is empty, this everything-is-empty is empty too;
no, it is full, full to overflowing, everything-is-empty is replete with itself, what we touch and see and taste and smell and think, the realities that we invent and the realities that touch us, look at us, hear us, and invent us, everything that we weave and unweave and everything that weaves and unweaves us, momentary appearances and disappearances, each one different and unique, is always the same full reality, always the same fabric that is woven as it is unwoven: even total emptiness and utter privation are plenitude (perhaps they are the apogee, the acme, the consummation and the calm of plenitude), everything is full to the brim, everything is real, all these invented realities and all these very real inventions are full of themselves, each and every one of them, replete with their own reality;
and the moment I say this, they empty themselves: things empty themselves and names fill themselves, they are no longer empty, names are plethoras, they are donors, they are full to bursting with blood, milk, semen, sap, they are swollen with minutes, hours, centuries, pregnant with meanings and significations and signals, they are the secret signs that time makes to itself, names suck the marrow from things, things die on this page but names increase and multiply, things die in order that names may live:”

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

Source: The Monkey Grammarian (1974), Ch. 9

“We define a semantic network as "the collection of all the relationships that concepts have to other concepts, to percepts, to procedures, and to motor mechanisms" of the knowledge."”

John F. Sowa (1940) artificial intelligence researcher

Source: Conceptual Structures, 1984, p. 76 as cited in: Jacques Demongeot (1988) Artificial intelligence and cognitive sciences. p. 179

William Jones photo

“The fundamental tenet of the Védántí school, to which in a more modern age the incomparable Sancara was a firm and illustrious adherent, consisted, not in denying the existence of matter, that is, of solidity, impenetrability, and extended figure (to deny which would be lunacy), but, in correcting the popular notion of it, and in contending, that it has no essence independent of mental perception, that existence and perceptibility are convertible terms, that external appearances and sensations are illusory, and would vanish into nothing if the divine energy, which alone sustains them, were suspended but for a moment; an opinion which Epicharmus and Plato seem to have adopted, and which has been maintained in the present century with great elegance, but with little publick applause; partly because it has been misunderstood, and partly because it has been misapplied by the false reasoning of some unpopular writers, who are said to have disbelieved in the moral attributes of God, whose omnipresence, wisdom, and goodness are the basis of the Indian philosophy… [N]othing can be farther removed from impiety than a system wholly built on the purest devotion; and the inexpressible difficulty, which any man, who shall make the attempt, will assuredly find in giving a satisfactory definition of material substance, must induce us to deliberate with coolness, before we censure the learned and pious restorer of the ancient Véda; though we cannot but admit, that, if the common opinions of mankind be the criterion of philosophical truth, we must adhere to the system of Gotama, which the Bráhmens of this province almost universally follow.”

William Jones (1746–1794) Anglo-Welsh philologist and scholar of ancient India

II. pp. 238-239
"On the Philosophy of the Asiatics" (1794)

Auguste Rodin photo

“In sculpture the projection of the fasciculi must be accentuated, the foreshortening forced, the hollows deepened; sculpture is the art of the hole and the lump, not of clear, well-smoothed, unmodelled figures. Ignorant people, when they see close-knitted true surfaces, say that 'it is not finished.' No notion is falser than that of finish unless it be that of elegance; by means of these two ideas people would kill our art. The way to obtain solidity and life is by work carried out to the fullest, not in the direction of achievement and of copying détails, but in that of truth in the successive schemes. The public, perverted by académie préjudices, confounds art with neatness. The simplicity of the 'École' is a painted cardboard ideal, A cast from life is a copy, the exactest possible copy, and yet it has neither motion nor eloquence. Art intervenes to exaggerate certain surfaces, and also to fine down others. In sculpture everything depends upon the way in which the modelling is carried out with a constant thought of the main line of the scheme, upon the rendering of the hollows, of the projections and of their connections; thus it is that one may get fine lights, and especially fine shadows that are not opaque. Everything should be emphasised according to the accent that it is desired to render, and the degree of amplification is personal, according to the tact and the temperament of each sculptor; and for this reason there is no transmissible process, no studio recipe, but only a true law. I see it in the antique and in Michael Angelo. To work by the profiles, in depth not by surfaces, always thinking of the few geometrical forms from which all nature proceeds, and to make these eternal forms perceptible in the individual case of the object studied, that is my criterion. That is not idealism, it is a part of the handicraft. My ideas have nothing to do with it but for that method; my Danaids and my Dante figures would be weak, bad things. From the large design that I get your mind deduces ideas.”

Auguste Rodin (1840–1917) French sculptor

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 61-63

Max Horkheimer photo

“The complexity of the connection between the world of perception and the world of physics does not preclude that such a connection can be shown to exist at any time.”

Max Horkheimer (1895–1973) German philosopher and sociologist

Source: "The Latest Attack on Metaphysics" (1937), p. 133.

S. H. Raza photo
George W. Bush photo
Francis Hutcheson (philosopher) photo

“For as long as I can remember,' I said, continuing to speak to the figure standing in the archway, 'I have had an intense and highly aesthetic perception of what I call the icy bleakness of things. At the same time I have felt a great loneliness in this perception. This conjunction of feelings seems paradoxical, since such a perception, such a view of things, would seem to preclude the emotion of loneliness, or any sense of a killing sadness, as I think of it. All such heartbreaking sentiment, as usually considered, would seem to be on its knees before artworks such as yours, which so powerfully express what I have called the icy bleakness of things, submerging or devastating all sentiment in an atmosphere potent with desolate truths, permeated throughout with a visionary stagnation and lifelessness. Yet I must observe that the effect, as I now consider it, has been just the opposite. If it was your intent to evoke the icy bleakness of things with your dream monologues, then you have totally failed on both an artistic and an extra-artistic level. You have failed your art, you have failed yourself, and you have also failed me. If your artworks had really evoked the bleakness of things, then I would not have felt this need to know who you are, this killing sadness that there was actually someone who experienced the same sensations and mental states that I did and who could share them with me in the form of tape-recorded dream monologues. Who are you that I should feel this need to go to work hours before the sun comes up, that I should feel this was something I had to do and that you were someone that I had to know? This behavior violates every principle by which I have lived for as long as I can remember. Who are you to cause me to violate these long-lived principles?”

Thomas Ligotti (1953) American horror author

The Bungalow House

Dana Gioia photo
Marshall McLuhan photo

“The role of the artist is to create an Anti-environment as a means of perception and adjustment.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1990s and beyond, The Book of Probes : Marshall McLuhan (2011), p. 31

Jacopone da Todi photo
Heather Brooke photo
Colin Wilson photo
Augustus De Morgan photo
Aldo Capitini photo
Kurt Lewin photo
Robert Silverberg photo
George Holmes Howison photo

“We return, then, to the strict concomitance of the two series, as all that can in exact science be meant by the functional relation between the brain and the sense-perceptive consciousness.”

George Holmes Howison (1834–1916) American philosopher

Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), Human Immortality: its Positive Argument, p.299

Northrop Frye photo

“Robinson (1952) pointed out some limits to approaching map symbolization and design from a purely artistic viewpoint, as he suggested was the guiding perspective at the time. Maps, like buildings that are designed primarily for artistic impact, are often not functional… Robinson (1952) argued that treating maps as art can lead to "arbitrary and capricious" decisions. He saw only two alternatives: either standardize everything so that no confusion can result about the meaning of symbols, or study and analyze characteristics of perception as they apply to maps so that symbolization and design decisions can be based on "objective" rules… Robinson's dissertation, then, signaled the beginning of a more objective approach to map symbolization and design based on testing the effectiveness of alternatives, an approach that followed the positivist model of physical science. In his dissertation, Robinson cited several aspects of cartographic method for which he felt more objective guidelines were required (e. g., lettering, color, and map design). He also suggested that this objective look at cartographic methods should begin by considering the limitations of human perception. One goal he proposed was identification of the "least practical differences" in map symbols”

Alan MacEachren (1952) American geographer

e.g., the smallest difference in lettering size that would be noticeable to most readers
Source: How Maps Work: Representation, Visualization, and Design (1995), p. 2-3

Bhakti Tirtha Swami photo
Nicholas of Cusa photo
Johann Wolfgang von Goethe photo
David Icke photo
Marshall McLuhan photo

“Prolonged mimesis of the alphabet and its fragmenting properties produced a new dominant mode of perception and then of culture.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1980s, Laws of Media: The New Science (with Eric McLuhan) (1988), p. 17

George William Curtis photo
Leonard Mlodinow photo
David Hume photo

“For my part, when I enter most intimately into what I call myself, I always stumble on some particular perception or other, of heat or cold, light or shade, love or hatred, pain or pleasure. I never can catch myself at any time without a perception, and never can observe any thing but the perception. When my perceptions are remov’d for any time, as by sound sleep; so long am I insensible of myself, and may truly be said not to exist. And were all my perceptions remov’d by death, and cou’d I neither think, nor feel, nor see, nor love, nor hate after the dissolution of my body, I shou’d be entirely annihilated, nor do I conceive what is farther requisite to make me a perfect non-entity. If any one upon serious and unprejudic’d reflexion, thinks he has a different notion of himself, I must confess I can reason no longer with him. All I can allow him is, that he may be in the right as well as I, and that we are essentially different in this particular. He may, perhaps, perceive something simple and continu’d, which he calls himself; tho’ I am certain there is no such principle in me… But setting aside some metaphysicians of this kind, I may venture to affirm of the rest of mankind, that they are nothing but a bundle or collection of different perceptions, which succeed each other with an inconceivable rapidity, and are in a perpetual flux and movement.”

Part 4, Section 6
A Treatise of Human Nature (1739-40), Book 1: Of the understanding

George Holmes Howison photo
Rick Santorum photo

“The idea that the Crusades and the fight of Christendom against Islam is somehow an aggression on our part is absolutely anti-historical. And that is what the perception is by the American left who hates Christendom.”

Rick Santorum (1958) American politician

2011-02-23
Santorum: Left hates 'Christendom'
Politico
Andy
Barr
http://www.politico.com/news/stories/0211/50054.html

Kazimir Malevich photo

“Dynamism is also the forming formula for Futurists works; i. e. dynamism is the additional element that transforms the perception of one state of phenomena to another, for example, from a static to a dynamic perception.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote c. 1915 in 'Cubofuturism', Malevich, in his Essays on Art, op. cit., vol 2; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 59
1910 - 1920

50 Cent photo