Take a look at the simplest of objects. Let's take, for example, an old chair. It seems like nothing. But think of the universe comprised within it: the sweaty hands cutting the wood that used to be a robust tree, full of energy, in the middle of a luxuriant forest by some high mountains. The loving work that built it, the joyful anticipation of the one who bought it, the tired bodies it has helped, the pains and the joys it must have endured, whether in fancy halls or in a humble dining room in your neighbourhood. Everything, everything shares life and has its importance! Even the most worn down of chair carries inside the initial force of the sap climbing from the earth, out there in the forest, and will still be useful the day when, broken into kindling, it burns in some fireplace.
Antoni TàpiesRelated topics
anticipation bought built chair cutting day earth everything example fancy force forest full high humble initial inside loving middle nothing pains room take worn wood work hands Burns hallsRelated quotes
When things don't change any longer, that's the end result of entropy, the heat-death of the universe. The more things go on moving, interrelating, conflicting, changing, the less balance there is-and the more life. I'm pro-life, George. Life itself is a huge gamble against the odds, against all odds! You can't try to live safely, there's no such thing as safety. Stick your neck out of your shell, then, and live fully! It's not how you get there, but where you get to that counts. What you're afraid to accept, here, is that we're engaged in a really great experiment, you and I. We're on the brink of discovering and controlling, for the good of all mankind, a whole new force, an entire new field of antientropic energy, of the life-force, of the will to act, to do, to change!
Ursula K. Le Guin
1. There is at present in the material world a universal tendency to the dissipation of mechanical energy.
2. Any restoration of mechanical energy, without more than an equivalent of dissipation, is impossible in inanimate material processes, and is probably never effected by means of organized matter, either endowed with vegetable life or subjected to the will of an animated creature.
3. Within a finite period of time past, the earth must have been, and within a finite period of time to come the earth must again be, unfit for the habitation of man as at present constituted, unless operations have been, or are to be performed, which are impossible under the laws to which the known operations going on at present in the material world are subject.
William Thomson
I'm sorry to disappoint science fiction fans, but if information is preserved, there is no possibility of using black holes to travel to other universes. If you jump into a black hole, your mass energy will be returned to our universe but in a mangled form which contains the information about what you were like but in a state where it can not be easily recognized. It is like burning an encyclopedia. Information is not lost, if one keeps the smoke and the ashes. But it is difficult to read. In practice, it would be too difficult to re-build a macroscopic object like an encyclopedia that fell inside a black hole from information in the radiation, but the information preserving result is important for microscopic processes involving virtual black holes.
Stephen Hawking
Before us, art relied on memory, an anxious re-evocation of an Object lost (happiness, love, a landscape), and hence was nostalgic, static, charged with suffering and distance. With Futurism, instead, art is turning into art-action, which is to say, into will, optimism, aggression, possession, penetration, delight, brutal reality within art (example: onomatopoiea; -example: noise-tuners = motors), geometrical splendor of forces, projections forward. Thus, art is becoming Presence, new Object, new reality created with the abstract elements of the universe. The hands of the passéist artist used to suffer for the sake of the lost Object; our hand will twitch for the new Object to be created. That is why the new Object (the plastic complex) has miraculously appeared in your hands.
Filippo Tommaso Marinetti
Suppose the reasoning centers of the brain can get their hands on the mechanisms that plop shapes into the array and that read their locations out of it. Those reasoning demons can exploit the geometry of the array as a surrogate for keeping certain logical constraints in mind. Wealth, like location on a line, is transitive: if A is richer than B, and B is richer than C, then A is richer than C. By using location in an image to symbolize wealth, the thinker takes advantage of the transitivity of location built into the array, and does not have to enter it into a chain of deductive steps. The problem becomes a matter of plop down and look up. It is a fine example of how the form of a mental representation determines what is easy or hard to think.
Steven Pinker