Quotes about precision

page 12

"Putin's Russia: Don't Walk, Don't Eat, and Don't Drink" http://www.newyorker.com/news/news-desk/putins-russia-dont-walk-dont-eat-and-dont-drink?intcid=mod-yml (28 May 2015), The New Yorker.

National Federation of Republican Assemblies, NYC, August 31, 2004. http://renewamerica.us/archives/speeches/04_08_31nfra.htm.
2009

Source: The Brain As A Computer (1962), p.2

The Daily Mail (26 July, 1977).

2010 Senate Campaign, Remarks regarding Christopher Dodd

Source: 1970s, Organizational Analysis: A Sociological View, 1970, p. 133

An Analytical Study of 'Sanskrit' and 'Panini' as Foundation of Speech Communication in India and the World

Quote (1912), # 928, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1911 - 1914

Source: Mani Madhava Chakkyar: The Master at Work, K.N. Panikar, Sangeet Natak Akademi New Delhi, 1994

The Murder Machine

Part 2, Chapter 8, Workers and Bosses, p. 104
Economics For Everyone (2008)

Source: In Defense of Chaos: The Chaology of Politics, Economics and Human Action, (2013), p. 50

Source: The Archiving Society, 1961, p. 104-5

Source: The art of leadership (1935), p. 91; as cited in: William Sykes " Visions Of Hope: Leadership http://www.openwriting.com/archives/2012/08/leadership_2.php." Published on August 12, 2012.

Escudero, F. [Francis]. (2015, April 22). Retrieved from Official Facebook Page of Francis Escudero https://www.facebook.com/senchizescudero/posts/10153227326970610/
2015, Facebook

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 477.

Source: Simone Weil : An Anthology (1986), Human Personality (1943), p. 57

“Liberalism and its Discontents,” p. 22.
Outside Ethics (2005)

Cheeseburger in Paradise
Song lyrics, Son of a Son of a Sailor (1978)

Book on the Finding of Chords.

Explaining the benefits of disinformation. Quoted in "KGB" - Page 142 - by Brian Freemantle - Social Science - 1982.

Diederik Aerts (2001) " Time, space and reality : an analysis from physics. http://www.vub.ac.be/CLEA/aerts/publications/2001TimeSpaceReality.pdf"

Source: 1930s, "Protocol Statements" (1932), p. 96

Nanny Nation

Wonder Boys (1995)

1920s, The Press Under a Free Government (1925)

Bk. 2, Ch. 1
Little, Big: or, The Fairies' Parliament (1981)

William Bateson, Mendel's Principles of Heredity (1909), Cambridge University Press, p. 5
Here Bateson alludes to the now-discredit ideas of blending inheritance and pangenesis
Mendel's Principles of Heredity (1913)

"On Criticism"
Table Talk: Essays On Men And Manners http://www.blupete.com/Literature/Essays/TableHazIV.htm (1821-1822)

"Creation and P.H. Gosse" ["La creacin y P.H. Gosse"]
Other Inquisitions (1952)

Source: The Voyage of the Beagle (1839), chapter XVII: "Galapagos Archipelago" (second edition, 1845), pages 393-394 http://darwin-online.org.uk/content/frameset?pageseq=406&itemID=F14&viewtype=image

Source: About, p. 216

As quoted in "From Bach to Kafka, or... about temptation - An interview by Emil Bassat http://darl.eu/intervie/84_05_30.htm" in Sofia News (30 May 1984).

"The Hermeneutics of Suspicion: Recovering Marx, Nietzsche, and Freud"

Source: My Years with General Motors, 1963, p. 20 (in 1964 edition)

Source: The Pivot of Civilization, 1922, Chapter 5, "The Cruelty of Charity"

Source: Disputed, Hitler: Memoirs of a Confidant (1978), p. 26

Preface to the 2014 Edition
After the Cataclysm: Postwar Indochina and the Reconstruction of Imperial Ideology, with Noam Chomsky, 1979

Part I, Chapter 3, The Roots of Economic Orthodoxy, p. 43
The Death of Economics (1994)

Source: The Pocket Manager, (1987), p. 161

"The Concept of Truth in Formalized Languages" (1931) in Logic, Semantics, Metamathematics: Papers from 1923 to 1938 (1956) Tr. J. H. Woodger.

The Naked Communist (1958)

La politique au milieu des intérêts d'imagination, c'est un coup de pistolet au milieu d'un concert. Ce bruit est déchirant sans être énergique. Il ne s'accorde avec le son d'aucun instrument. Cette politique va offenser mortellement une moitié des lecteurs et ennuyer l'autre qui l'a trouvée bien autrement spéciale et énergique dans le journal du matin.
Vol. II, ch. XXII
Le Rouge et le Noir (The Red and the Black) (1830)

Source: The New Drawing on the Right Side of the Brain (1979), p.196

do something else.
Source: Leisure, the Basis of Culture (1948), Leisure, the Basis of Culture, p. 58

The Education of Henry Adams (1907)

Thompson (1991) Fast Foreword, from The American Replacement of Nature.

But I would rather go back to the old days when even the most modest attempt by Government to intervene in commerce and industry was rudely rebuffed.
March 27, 1968, page 213.
Official Report of Proceedings of the Hong Kong Legislative Council

Quote, 1945 of Fernand Leger, in Abstract Painting, Michel Seuphor, Dell Publishing Co., 1964, p. 33
Quotes of Fernand Leger, 1940's

Wood v. Lucy, Lady Duff-Gordon, 222 N.Y. 88, 91; 118 N.E. 214 (N.Y. 1917)
Judicial opinions
Context: The law has outgrown its primitive stage of formalism when the precise word was the sovereign talisman, and every slip was fatal. It takes a broader view to-day. A promise may be lacking, and yet the whole writing may be "instinct with an obligation," imperfectly expressed. If that is so, there is a contract.

A Defence of Baby-Worship
The Defendant (1901)
Context: When we reverence anything in the mature, it is their virtues or their wisdom, and this is an easy matter. But we reverence the faults and follies of children.
We should probably come considerably nearer to the true conception of things if we treated all grown-up persons, of all titles and types, with precisely that dark affection and dazed respect with which we treat the infantile limitations.

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 53

Source: Darkness Visible (1990), II
Context: When I was a young writer there had been a stage where Camus, almost more than any other contemporary literary figure, radically set the tone for my own view of life and history. I read his novel The Stranger somewhat later than I should have — I was in my early thirties — but after finishing it I received the stab of recognition that proceeds from reading the work of a writer who has wedded moral passion to a style of great beauty and whose unblinking vision is capable of frightening the soul to its marrow. The cosmic loneliness of Meursault, the hero of that novel, so haunted me that when I set out to write The Confessions of Nat Turner I was impelled to use Camus’s device of having the story flow from the point of view of a narrator isolated in his jail cell during the hours before his execution. For me there was a spiritual connection between Meursault’s frigid solitude and the plight of Nat Turner — his rebel predecessor in history by a hundred years — likewise condemned and abandoned by man and God. Camus’s essay “Reflections on the Guillotine” is a virtually unique document, freighted with terrible and fiery logic; it is difficult to conceive of the most vengeful supporter of the death penalty retaining the same attitude after exposure to scathing truths expressed with such ardor and precision. I know my thinking was forever altered by that work, not only turning me around completely, convincing me of the essential barbarism of capital punishment, but establishing substantial claims on my conscience in regard to matters of responsibility at large. Camus was a great cleanser of my intellect, ridding me of countless sluggish ideas, and through some of the most unsettling pessimism I had ever encountered causing me to be aroused anew by life’s enigmatic promise.

Games for Actors and non-Actors (1992)
Context: In truth the Theatre of the Oppressed has no end, because everything which happens in it must extend into life…. The Theatre of the Oppressed is located precisely on the frontier between fiction and reality – and this border must be crossed. If the show starts in fiction, its objective is to become integrated into reality, into life. Now in 1992, when so many certainties have become so many doubts, when so many dreams have withered on exposure to sunlight, and so many hopes have become as many deceptions – now that we are living through times and situations of great perplexity, full of doubts and uncertainties, now more than ever I believe it is time for a theatre which, at its best, will ask the right questions at the right times. Let us be democratic and ask our audiences to tell us their desires, and let us show them alternatives. Let us hope that one day – please, not too far in the future – we’ll be able to convince or force our governments, our leaders, to do the same; to ask their audiences – us – what they should do, so as to make this world a place to live and be happy in – yes, it is possible – rather than just a vast market in which we sell our goods and our souls. Let’s hope. Let’s work for it!

Italian Report (1955)
Context: A more rewarding approach to painting, in my opinion the only valid one, is to regard it as a deeply personal and private activity and to remember that even when the painter works directly for the public — when there is sufficient common ground to allow him to do so — the real merit of the work will depend on the personal vision of the artist and the work will only be truly understood if it is approached by each in the same spirit as the painter painted it. We must be willing to assume the same sort of responsibility and share the dilemma out of which the work was created in order to be able to feel with the artist. Since the deepest and truest dilemma, from which all good art springs, is the human condition we have every right to regard the needs of our own consciousness as the final court in judging the merit of a work of art, we have in fact a moral obligation to do so. This demands the precise honesty from the spectator as was required from the artist in making the painting. It is their common ground, the area within which communication can occur. Art in the end speaks to the secret soul of the individual and of the most secret sorrows. For this reason it is true that the development that produces great art is a moral and not an aesthetic development..

Review of Magnolia (1999), in review for Great Movies (27 November 2008) http://www.rogerebert.com/reviews/great-movie-magnolia-1999
Reviews, Four star reviews
Context: Magnolia is a film of sadness and loss, of lifelong bitterness, of children harmed and adults destroying themselves. As the narrator tells us near the end, "We may be through with the past, but the past is never through with us." In this wreckage of lifetimes, there are two figures, a policeman and a nurse, who do what they can to offer help, hope and love. … The central theme is cruelty to children, and its lasting effect. This is closely linked to a loathing or fear of behaving as we are told, or think, that we should. … As an act of filmmaking, it draws us in and doesn't let go. It begins deceptively, with a little documentary about amazing coincidences (including the scuba diver scooped by a fire-fighting plane and dumped on a forest fire) … coincidences and strange events do happen, and they are as real as everything else. If you could stand back far enough, in fact, everything would be revealed as a coincidence. What we call "coincidences" are limited to the ones we happen to notice. … In one beautiful sequence, Anderson cuts between most of the major characters all simultaneously singing https://www.youtube.com/watch?v=aNmKghTvj0E Aimee Mann's "It's Not Going to Stop." A directorial flourish? You know what? I think it's a coincidence. Unlike many other "hypertext movies" with interlinking plots, Magnolia seems to be using the device in a deeper, more philosophical way. Anderson sees these people joined at a level below any possible knowledge, down where fate and destiny lie. They have been joined by their actions and their choices.
And all leads to the remarkable, famous, sequence near the film's end when it rains frogs. Yes. Countless frogs, still alive, all over Los Angeles, falling from the sky. That this device has sometimes been joked about puzzles me. I find it a way to elevate the whole story into a larger realm of inexplicable but real behavior. We need something beyond the human to add another dimension. Frogs have rained from the sky eight times this century, but never mind the facts. Attend instead to Exodus 8:2, which is cited on a placard in the film: "And if thou refuse to let them go, behold, I will smite your whole territory with frogs." Let who go? In this case, I believe, it refers not to people, but to fears, shames, sins.
Magnolia is one of those rare films that works in two entirely different ways. In one sense, it tells absorbing stories, filled with detail, told with precision and not a little humor. On another sense, it is a parable. The message of the parable, as with all good parables, is expressed not in words but in emotions. After we have felt the pain of these people, and felt the love of the policeman and the nurse, we have been taught something intangible, but necessary to know.

Source: River out of Eden (1995), pp. 131–132
Context: The total amount of suffering per year in the natural world is beyond all decent contemplation. During the minute it takes me to compose this sentence, thousands of animals are being eaten alive; others are running for their lives, whimpering with fear; others are being slowly devoured from within by rasping parasites; thousands of all kinds are dying of starvation, thirst and disease. [... ] In a universe of blind physical forces and genetic replication, some people are going to get hurt, other people are going to get lucky, and you won't find any rhyme or reason in it, nor any justice. The universe we observe has precisely the properties we should expect if there is, at bottom, no design, no purpose, no evil and no good, nothing but blind, pitiless indifference. DNA neither knows nor cares. DNA just is. And we dance to its music.

Peace and the Public Mind (1935)
Context: The fact that men are naturally quarrelsome is presumed to be an argument against such institutions as the League. But it is precisely the fact of the natural pugnacity of man that makes such institutions necessary. If men were naturally and easily capable of being their own judges, always able to see the other's case, never got into panics, never lost their heads, never lost their tempers and called it patriotism — why, then we should not want a League. But neither should we want in that case most of our national apparatus of government either — parliaments, congresses, courts, police, ten commandments. These are all means by which we deal with the unruly element in human nature.

Quotes, NYU Speech (2004)
Context: Make no mistake, it is precisely our moral authority that is our greatest source of strength, and it is precisely our moral authority that has been recklessly put at risk by the cheap calculations and mean compromises of conscience wagered with history by this willful president.

Source: Poverty (1912), p. 7
Context: To be above the poverty line, means no more than to have a sanitary dwelling and sufficient food and clothing to keep the body in working order. It is precisely the same standard that a man would demand for his horses or slaves. Treating man merely as the "repository of a certain sort of labor power," it makes possible the utilization of that power to the fullest extent. No one will fail to realize how low such a standard is. It does not necessarily include any of the intellectual, aesthetic, moral, or social necessities; it is a purely physical standard...

Source: Zen and the Art of Motorcycle Maintenance (1974), Ch. 20
Context: Any philosophic explanation of Quality is going to be both false and true precisely because it is a philosophic explanation. The process of philosophic explanation is an analytic process, a process of breaking something down into subjects and predicates. What I mean (and everybody else means) by the word ‘quality’ cannot be broken down into subjects and predicates. This is not because Quality is so mysterious but because Quality is so simple, immediate and direct.

14 August 1853
Correspondence, Letters to Madame Louise Colet

Review http://www.rogerebert.com/reviews/the-doom-generation-1995 of The Doom Generation (10 November 1995)
Reviews, Zero star reviews
Context: The movie opens as the drifter "inadvertently" (Araki's word, in the press kit) blows off the head of a Korean convenience store owner... It continues as the "enigmatic Xavier" (I am again quoting from the wonderfully revealing press kit) "has such rotten karma that every time they stop the car for fries and Diet Cokes, someone ends up dying in one gruesome way or another." Wait, there's more: "As the youthful band of outsiders continues their travels through the wasteland of America, Amy finds herself (having sex with) both Jordan and Xavier, forging a triangle of love, sex and desperation too pure for this world." Now let's deconstruct that. (1) The correct word is "its," not "their." (2) "Band of outsiders" is an insider reference to A Band Apart," the name of Quentin Tarantino's production company, which itself is a pun on the title of a film by Godard. (3) Is it remotely possible that America is a "wasteland" because Amy, Jordan and Xavier kill someone every time they stop for fries and a soda? That wouldn't have occurred to this movie. (4) The clause "someone ends up dying" is a passive way to avoid saying that the three characters kill them. This is precisely the same construction used by many serial killers and heads of state, who use language to separate themselves from the consequences of their actions.

Source: The Moral Judgment of the Child (1932), Ch. 2 : Adult Constraint and Moral Realism <!-- p. 185 -->
Context: To perceive is to construct intellectually, and if the child draws things as he conceives them, it is certainly because he cannot perceive them without conceiving them. But to give up gradually the spurious absolutes situated away and apart from the context of relations that has been built up during experience itself is the work of a superior kind of rationality. When the child comes to draw things as he sees them, it will be precisely because he has given up taking isolated objects in and for themselves and has begun to construct real systems of relations which take account of the true perspective in which things are connected.

I and Thou (1923)
Context: Some would deny any legitimate use of the word God because it has been misused so much. Certainly it is the most burdened of all human words. Precisely for that reason it is the most imperishable and unavoidable. And how much weight has all erroneous talk about God's nature and works (although there never has been nor can be any such talk that is not erroneous) compared with the one truth that all men who have addressed God really meant him? For whoever pronounces the word God and really means Thou, addresses, no matter what his delusion, the true Thou of his life that cannot be restricted by any other and to whom he stands in a relationship that includes all others.

Introduction: The Custom-House
The Scarlet Letter (1850)
Context: The moment when a man's head drops off is seldom or never, I am inclined to think, precisely the most agreeable of his life. Nevertheless, like the greater part of our misfortunes, even so serious a contingency brings its remedy and consolation with it, if the sufferer will but make the best, rather than the worst, of the accident which has befallen him.

"The Way Of Chuang Tzu".
The Way of Chuang-Tzŭ (1965)
Context: The secret of the way proposed by Chuang Tzu is … not the accumulation of virtue and merit … but wu wei, the non-doing, or non-action, which is not intent upon results and is not concerned with consciously laid plans or deliberately organized endeavors: "My greatest happiness consists precisely in doing nothing whatever that is calculated to obtain happiness... Perfect joy is to be without joy... if you ask 'what ought to be done' and 'what ought not to be done' on earth to produce happiness, I answer that these questions do not have [a fixed and predetermined] answer" to suit every case. If one is in harmony with Tao-the cosmic Tao, "Great Tao" — the answer will make itself clear when the time comes to act, for then one will act not according to the human and self-conscious mode of deliberation, but accord­ ing to the divine and spontaneous mode of wu wei, which is the mode of action of Tao itself, and is therefore the source of all good.
The other way, the way of conscious striving, even though it may claim to be a way of virtue, is fundamentally a way of self-aggrandizement, and it is consequently bound to come into conflict with Tao. Hence it is self-destructive, for "what is against Tao will cease to be."

Direct Action (1912)
Context: Those who, by the essence of their belief, are committed to Direct Action only are — just who? Why, the non-resistants; precisely those who do not believe in violence at all! Now do not make the mistake of inferring that I say direct action means non-resistance; not by any means. Direct action may be the extreme of violence, or it may be as peaceful as the waters of the Brook of Siloa that go softly. What I say is, that the real non-resistants can believe in direct action only, never in political action. For the basis of all political action is coercion; even when the State does good things, it finally rests on a club, a gun, or a prison, for its power to carry them through.

Letter to Moritz von Egidy (c. January 1894) - Original German text online http://www.lilienthal-museum.de/olma/l1852.htm
Context: I, too, have made it a lifelong task of mine to add a cultural element to my work, which should result in uniting countries and reconciling their people. Our experience of today's civilisation suffers from the fact that it only happens on the surface of the earth. We have invented barricades between our countries, custom regulations and constraints and complicated traffic laws and these are only possible because we are not in control of the 'kingdom of the air', and not as 'free as a bird'.
Numerous technicians in every state are doing their utmost to achieve the dream of free, unlimited flight and it is precisely here where changes can be made which would have a radical effect on our whole way of life. The borders between countries would lose their significance, because they could not be closed off from each other. Linguistic differences would disappear, as human mobility increased. National defence would cease to devour the best resources of nations as it would become impossible in itself. And the necessity of resolving disagreements among nations in some other way than by bloody battles would, in its turn, lead us to eternal peace.
We are getting closer to this goal. When we will reach it, I do not know.

X magazine (1959-62)
Context: The interesting thing is what happens in the specific picture: its precision in terms of the sensations it produces — the illusion it creates and the effect of this illusion on the psychology opposed to it. General philosophical and technical information however interesting in itself is secondary to this reality.

Him (1927)
Context: Here life is, moves; faintly. A wrist. The faint throb of blood, precise, miraculous... And they talk of dying! The blood delicately descending and ascending: making an arm. Being an arm. The warm flesh, the dim slender flesh filled with life, slenderer than a miracle, frailer... These are the shoulders through which fell the world. The dangerous shoulders of Eve, in god's entire garden newly strolling.

SGU, Podcast #326, October 15th, 2011 http://www.theskepticsguide.org/podcast/sgu/326
The Skeptics' Guide to the Universe, Podcast, 2010s
Context: In fact, there are many altered brain states where people may have a very vivid experience, or at least a vivid memory of their experience, precisely because they have impaired brain function. When you start dropping some of the higher brain functions out of the loop, like reality testing and things like that, … things can seem hyper-real. That could actually be a sign of brain dysfunction. It's similar to … somebody who is stoned thinking that they are really profound.

Quoted by Stephen King in his book Danse Macabre (1981)
Context: I am anti-entropy. My work is foursquare for chaos. I spend my life personally, and my work professionally, keeping the soup boiling. Gadfly is what they call you when you are no longer dangerous; I much prefer troublemaker, malcontent, desperado. I see myself as a combination of Zorro and Jiminy Cricket. My stories go out from here and raise hell. From time to time some denigrator or critic with umbrage will say of my work, "He only wrote that to shock." I smile and nod. Precisely.

Source: On Nature (1874), p. 102
Context: Conformity to nature has no connection whatever with right and wrong. The idea can never be fitly introduced into ethical discussions at all, except, occasionally and partially, into the question of degrees of culpability. To illustrate this point, let us consider the phrase by which the greatest intensity of condemnatory feeling is conveyed in connection with the idea of nature - the word "unnatural." That a thing is unnatural, in any precise meaning which can be attached to the word, is no argument for its being blamable; since the most criminal actions are to a being like man not more unnatural than most of the virtues.

D-503
We (1921)

The Architecture of Theories (1891)
Context: The only possible way of accounting for the laws of nature and for uniformity in general is to suppose them results of evolution. This supposes them not to be absolute, not to be obeyed precisely. It makes an element of indeterminacy, spontaneity, or absolute chance in nature. Just as, when we attempt to verify any physical law, we find our observations cannot be precisely satisfied by it, and rightly attribute the discrepancy to errors of observation, so we must suppose far more minute discrepancies to exist owing to the imperfect cogency of the law itself, to a certain swerving of the facts from any definite formula.

Book I, 1094b.24
Nicomachean Ethics

Source: An Introduction to the History of Western Europe (1902), Ch. 1 : The Historical Point of View, p. 4
Context: !-- The French Revolution, at the end of the eighteenth century, was probably the most abrupt and thoroughgoing change in the habits of a nation of which we have any record. But we shall find, when we come to study it, that it was by no means so sudden in reality as is ordinarily supposed. Moreover, the innovators did not even succeed in permanently altering the form of government; for when the French, after living under a monarchy for many centuries, set up a republic in 1792, the new government lasted only a few years. The nation was monarchical by habit and soon gladly accepted the rule of Napoleon, which was more despotic than that of any of its former kings. In reorganizing the state he borrowed much from the discarded monarchy, and the present French republic still retains many of these arrangements.
--> This tendency of mankind to do, in general, this year what it did last, in spite of changes in some one department of life, — such as substituting a president for a king, traveling by rail instead of on horseback, or getting the news from a newspaper instead of from a neighbor, — results in what is called the unity or continuity of history. The truth that no abrupt change has ever taken place in all the customs of a people, and that it cannot, in the nature of things, take place, is perhaps the most fundamental lesson that history teaches.
Historians sometimes seem to forget this principle, when they claim to begin and end their books at precise dates.

The Long Dream (1958)

Bartlett's Familiar Quotations, 10th ed. (1919), Journal
Context: The efficacy of religion lies precisely in what is not rational, philosophic or eternal; its efficacy lies in the unforeseen, the miraculous, the extraordinary. Thus religion attracts more devotion according as it demands more faith,—that is to say, as it becomes more incredible to the profane mind. The philosopher aspires to explain away all mysteries, to dissolve them into light. Mystery on the other hand is demanded and pursued by the religious instinct; mystery constitutes the essence of worship, the power of proselytism. When the "cross" became the "foolishness" of the cross, it took possession of the masses.

Source: The Cream of the Jest (1917), Ch. 26 : "Epper Si Muove"
Context: To-day alone was real. Never was man brought into contact with reality save through the evanescent emotions and sensations of that single moment, that infinitesimal fraction of a second, which was passing now — and it was in the insignificance of this moment, precisely, that religious persons must believe. So ran the teachings of all dead and lingering faiths alike. Here was, perhaps, only another instance of mankind's abhorrence of actualities; and man's quaint dislike of facing reality was here disguised as a high moral principle. That was why all art, which strove to make the sensations of a moment soul-satisfying, was dimly felt to be irreligious. For art performed what religion only promised.

Source: Calculated Risk (1950), p. 1
Context: A soldier's life in combat is an endless series of decisions that mean success or failure, and perhaps life or death for himself or his comrades. The rifleman crawling through the rubble of a bombed-out street must decide on the best moment to escape enemy fire as he dodges from one doorway to the next. He must take a chance. The general seeking to break an enemy defense line and destroy his forces must decide just when and how to strike and precisely to what extent he dare weaken one sector of his front in order to mass overpowering strength at the main point of attack. He, too, must take a chance, although, in the stilted phraseology of military communiqués, he calls it a "calculated risk".

1920s, The Progress of a People (1924)
Context: The armies in the field could not have done their part in the war if they had not been sustained and supported by the far greater civilian forces at home, which through unremitting toil made it possible to sustain our war effort. No part of the community responded more willingly, more generously, more unqualifiedly, to the demand for special extraordinary exertion, than did the members of the Negro race. Whether in the military service, or in the vast mobilization of industrial resources which the war required, the Negro did his part precisely as did the white man. He drew no color line when patriotism made its call upon him. He gave precisely as his white fellow citizens gave, to the limit of resources and abilities, to help the general cause. Thus the American Negro established his right to the gratitude and appreciation which the Nation has been glad to accord.

Mathematical Methods in Science (1977)
Context: Life is full of surprises: our approximate condition for the fall of a body through a resisting medium is precisely analogous to the exact condition for the flow of an electric current through a resisting wire [of an induction coil]....
m\frac {dv}{dt} = mg - Kv
This is the form most convenient for making an analogy with the "fall", i. e., flow, of an electric current.
... in order from left to right, mass m, rate of change of velocity \frac {dv}{dt}, gravitational force mg, and velocity v. What are the electrical counterparts?... To press the switch, to allow current to start flowing is the analogue of opening the fingers, to allow the body to start falling. The fall of the body is caused by the force mg due to gravity; the flow of the current is caused by the electromotive force or tension E due to the battery. The falling body has to overcome the frictional resistance of the air; the flowing current has to overcome the electrical resistance of the wire. Air resistance is proportional to the body's velocity v; electrical resistance is proportional to the current i. And consequently rate of change of velocity \frac {dv}{dt} corresponds to rate of change of current \frac {di}{dt}.... The electromagnetic induction L opposes the change of current... And doesn't the inertia or mass m..? Isn't L, so to speak, an electromagnetic inertia?
L\frac {di}{dt} = E - Ki

"On the Cryptic and the Elliptic"
All Things Considered (1908)
Context: For fear of the newspapers politicians are dull, and at last they are too dull even for the newspapers. The speeches in our time are more careful and elaborate, because they are meant to be read, and not to be heard. And exactly because they are more careful and elaborate, they are not so likely to be worthy of a careful and elaborate report. They are not interesting enough. So the moral cowardice of modern politicians has, after all, some punishment attached to it by the silent anger of heaven. Precisely because our political speeches are meant to be reported, they are not worth reporting. Precisely because they are carefully designed to be read, nobody reads them.

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 111-112

The Museum of Curiosity (BBC Radio 4, 2008)

The Doctrine of Necessity Examined (1892)
Context: When I have asked thinking men what reason they had to believe that every fact in the universe is precisely determined by law, the first answer has usually been that the proposition is a "presupposition " or postulate of scientific reasoning. Well, if that is the best that can be said for it, the belief is doomed. Suppose it be " postulated " : that does not make it true, nor so much as afford the slightest rational motive for yielding it any credence. It is as if a man should come to borrow money, and when asked for his security, should reply he "postulated " the loan. To "postulate" a proposition is no more than to hope it is true. There are, indeed, practical emergencies in which we act upon assumptions of certain propositions as true, because if they are not so, it can make no difference how we act. But all such propositions I take to be hypotheses of individual facts. For it is manifest that no universal principle can in its universality be compromised in a special case or can be requisite for the validity of any ordinary inference.

No Name in the Street (1972)
Context: The prison is overcrowded, the calendars full, the judges busy, the lawyers ambitious, and the cops zealous. What does it matter if someone gets trapped here for a year or two, gets ruined here, goes mad here, commits murder or suicide here? It's too bad, but that's the way the cookie crumbles sometimes. I do not claim that everyone in prison here is innocent, but I do claim that the law, as it operates, is guilty, and that the prisoners, therefore, are all unjustly imprisoned. Is it conceivable, after all, that any middle-class white boy -- or, indeed, almost any white boy -- would have been arrested on so grave a charge as murder, with such flimsy substantiation, and forced to spend, as of this writing, three years in prison? What force, precisely, is operating when a prisoner is advised, requested, ordered, intimidated, or forced, to confess to a crime he has not committed, and promised a lighter sentence for so perjuring and debasing himself? Does the law exist for the purpose of furthering the ambitions of those who have sworn to uphold the law, or is it seriously to be considered as a moral, unifying force, the health and strength of a nation?

X magazine (1959-62)
Context: The Art of painting is itself an intensely personal activity. It may be labouring the obvious to say so but it is too little recognised in art journalism now that a picture is a unique and private event in the life of the painter: an object made alone with a man and a blank canvas... A real painting is something which happens to the painter once in a given minute; it is unique in that it will never happen again and in this sense is an impossible object. It is judged by the painter simply as a success or failure without qualification. And it is something which happens in life not in art: a picture which was merely the product of art would not be very interesting and could tell us nothing we were not already aware of. The old saying, “what you don’t know can’t hurt you”, expresses the opposite idea to that which animates the painter before his canvas. It is precisely what he does not know which may destroy him.

Day of Affirmation Address (1966)
Context: All do not develop in the same manner, or at the same pace. Nations, like men, often march to the beat of different drummers, and the precise solutions of the United States can neither be dictated nor transplanted to others. What is important is that all nations must march toward increasing freedom; toward justice for all; toward a society strong and flexible enough to meet the demands of all its own people, and a world of immense and dizzying change.

"Auctorial Induction"
The Certain Hour (1916)
Context: I have made at worst some neat, precise and joyous little tales which prevaricate tenderly about the universe and veil the pettiness of human nature with screens of verbal jewelwork. It is not the actual world they tell about, but a vastly superior place where the Dream is realized and everything which in youth we knew was possible comes true. It is a world we have all glimpsed, just once, and have not ever entered, and have not ever forgotten. So people like my little tales.... Do they induce delusions? Oh, well, you must give people what they want, and literature is a vast bazaar where customers come to purchase everything except mirrors.

§ 1
Reflections on the Formation and Distribution of Wealth (1766)
Context: If the land was divided among all the inhabitants of a country, so that each of them possessed precisely the quantity necessary for his support, and nothing more; it is evident that all of them being equal, no one would work for another. Neither would any of them possess wherewith to pay another for his labour, for each person having only such a quantity of land as was necessary to produce a subsistence, would consume all he should gather, and would not have any thing to give in exchange for the labour of others.

[3] Metaphor, 3.12. Conclusions
Semiotics and the Philosophy of Language (1984)
Context: No algorithm exists for the metaphor, nor can a metaphor be produced by means of a computer's precise instructions, no matter what the volume of organized information to be fed in. The success of a metaphor is a function of the sociocultural format of the interpreting subjects' encyclopedia. In this perspective, metaphors are produced solely on the basis of a rich cultural framework, on the basis, that is, of a universe of content that is already organized into networks of interpretants, which decide (semiotically) the identities and differences of properties. At the same time, content universe, whose format postulates itself not as rigidly hierarchized but, rather, according to Model Q, alone derives from the metaphorical production and interpretation the opportunity to restructure itself into new nodes of similarity and dissimilarity.

Mathematical Methods in Science (1977), p.215

'The Continuing Insult to the English Language' (The Monthly, May 2006)
Essays and reviews
Context: ... by now some of the editors and subeditors [on Fleet Street] are themselves products of the anti-educational orthodoxy by which expressiveness counts above precision. It would, if the two terms were separable. But they aren't. Beyond a certain point - and that point is reached early - precision is what expressiveness depends on.

The Usurpation Of Language (1910)
Context: Are not the richest and most significant experiences of man precisely those which are the least patient of verbal reproduction? A book, a treatise, a discourse, is the very thing that cannot contain them, that can contain at most their lower elements, their less significant aspects. Who shall transfer them to paper, write them in ink, utter them in words? And yet, though inexpressible thus, these things crave expression, for they are full of meaning and must be expressed. They have a language of their own. Art can utter some of them, and Nature, perhaps, can interpret them all. They borrow her tongues, speaking in the winds, singing in the voice of moving waters, looking down upon us in the cold shining of the stars. What they mean, we, too, can express; but we express it, not by speaking there and then, but by all that we become through their influence, by all that we are led to do, through their compelling, till life shall end.

Great English Short Stories (1957), selected and introduced by Isherwood, p. 267 <!-- [Laurel TM 674623] -->
Context: Horror is always aware of its cause; terror never is. That is precisely what makes terror terrifying.