Visualization

"The notion that "applied" knowledge is somehow less worthy than "pure" knowledge, was natural to a society in which all useful work was performed by slaves and serfs, and in which industry was controlled by the models set by custom rather than by intelligence."

"The word model is used as a noun, adjective, and verb, and in each instance it has a slightly different connotation. As a noun "model" is a representation in the sense in which an architect constructs a small-scale model of a building or a physicist a large-scale model of an atom. As an adjective "model" implies a degree or perfection or idealization, as in reference to a model home, a model student, or a model husband. As a verb "to model" means to demonstrate, to reveal, to show what a thing is like."

"Scientific models have all these connotations. They are representations of states, objects, and events. They are idealized in the sense that they are less complicated than reality and hence easier to use for research purposes. These models are easier to manipulate and "carry" than the real thing. The simplicity of models, compared with reality, lies in the fact that only the relevant properties of reality are represented."

"Scientists work from models acquired through education and through subsequent exposure to the literature often without quite knowing or needing to know what characteristics have given these models the status of community paradigms"

"Knowledge about the process being modeled starts fairly low, then increases as understanding is obtained and tapers off to a high value at the end."

"Any model or description that leaves out conscious forces … is bound to be sadly incomplete and unsatisfactory … This scheme is one that puts mind back over matter, in a sense, not under or outside or beside it. It is a scheme that idealizes ideas and ideals over physical and chemical interactions, nerve impulse traffic, and DNA. It is a brain model in which conscious mental psychic forces are recognized to be the crowning achievement of some five hundred million years or more of evolution."

"For the scientist a model is also a way in which the human though processes can be amplified. This method often takes the form of models that can be programmed into computers. At no point, however, the scientist intend to loose control of the situation because off the computer does some of his thinking for him. The scientist controls the basic assumptions and the computer only derives some of the more complicated implications."

"The statistician knows ... that in nature there never was a normal distribution, there never was a straight line, yet with normal and linear assumptions, known to be false, he can often derive results which match, to a useful approximation, those found in the real world."

"We have no idea about the 'real' nature of things … The function of modeling is to arrive at descriptions which are useful."

"Models can easily become so complex that they are impenetrable, unexaminable, and virtually unalterable."

"The models of management which individuals and organizations use come from a variety of sources. Sometimes the model comes from a theory. The theory may emerge from someone's thoughts about the desired characteristics of a manager, or about the characteristics of competent managers. Sometimes the model comes from a panel. A group of people, possibly in the job or at levels above the job within the organization, generates a model through discussion of what is needed to perform a management job competently."

"The value of global modelling has been severely restricted by poor appreciation of the constraints under which governments and politicians operate. Equally, the value of governments and politicians has been severely restricted by largely ignoring the very real but less immediate problems tackled by modellers."

"Essentially, all models are wrong, but some are useful."

"Today, nearly all biologists acknowledge that evolution is a fact. The term theory is no longer appropriate except when referring to the various models that attempt to explain how life evolves..."

"Ackoff (1962)... differentiates between iconic models, which use the same materials but involve changes in scale, analogue models which also involve a change in the materials used in building the model, and symbolic models which represent reality by some symbolic system such as a system of mathematical equations."

"A model is a physical, mathematical, or logical representation of a system entity, phenomenon, or process. A simulation is the implementation of a model over time. A simulation brings a model to life and shows how a particular object or phenomenon will behave. It is useful for testing, analysis or training where real-world systems or concepts can be represented by a model."

"There are many specific techniques that modellers use, which enable us to discover aspects of reality that may not be obvious to everyone..."

"Modelling is an essential and inseparable part of all scientific, and indeed all intellectual, activity. How then can we treat it as a separate discipline? The answer is that the professional modeller brings special skills and techniques to bear in order to produce results that are insightful, reliable, and useful. Many of these techniques can be taught formally, such as sophisticated statistical methods, computer simulation, systems identification, and sensitivity analysis. These are valuable tools, but they are not as important as the ability to understand the underlying dynamics of a complex system well enough to assess whether the assumptions of a model are correct and complete. Above all, the successful modeller must be able to recognise whether a model reflects reality, and to identify and deal with divergences between theory and data."

"Visual modeling is a usage of images in various business-fields (in the industry, science, management etc). There are additional limitations on these images distinguishing them from arbitrary pictures - they are created from the standard “patterns” having defined semantics and way of usage."

"The role of conceptual modelling in information systems development during all these decades is seen as an approach for capturing fuzzy, ill-defined, informal "real-world" descriptions and user requirements, and then transforming them to formal, in some sense complete, and consistent conceptual specifications."

"My first heresy says that all the fuss about global warming is grossly exaggerated. Here I am opposing the holy brotherhood of climate model experts and the crowd of deluded citizens who believe the numbers predicted by the computer models. Of course, they say, I have no degree in meteorology and I am therefore not qualified to speak. But I have studied the climate models and I know what they can do. The models solve the equations of fluid dynamics, and they do a very good job of describing the fluid motions of the atmosphere and the oceans. They do a very poor job of describing the clouds, the dust, the chemistry and the biology of fields and farms and forests. They do not begin to describe the real world that we live in. The real world is muddy and messy and full of things that we do not yet understand. It is much easier for a scientist to sit in an air-conditioned building and run computer models, than to put on winter clothes and measure what is really happening outside in the swamps and the clouds. That is why the climate model experts end up believing their own models."

"Investors should be skeptical of history-based models. Constructed by a nerdy-sounding priesthood using esoteric terms such as beta, gamma, sigma and the like, these models tend to look impressive. Too often, though, investors forget to examine the assumptions behind the symbols. Our advice: Beware of geeks bearing formulas."

"Models are of central importance in many scientific contexts. The centrality of models such as the billiard ball model of a gas, the Bohr model of the atom, the MIT bag model of the nucleon, the Gaussian-chain model of a polymer, the Lorenz model of the atmosphere, the Lotka-Volterra model of predator-prey interaction, the double helix model of DNA, agent-based and evolutionary models in the social sciences, or general equilibrium models of markets in their respective domains are cases in point. Scientists spend a great deal of time building, testing, comparing and revising models, and much journal space is dedicated to introducing, applying and interpreting these valuable tools. In short, models are one of the principal instruments of modern science."

"Scientific modeling, the generation of a physical, conceptual, or mathematical representation of a real phenomenon that is difficult to observe directly. Scientific models are used to explain and predict the behaviour of real objects or systems and are used in a variety of scientific disciplines, ranging from physics and chemistry to ecology and the Earth sciences. Although modeling is a central component of modern science, scientific models at best are approximations of the objects and systems that they represent—they are not exact replicas. Thus, scientists constantly are working to improve and refine models."

"Complexity scientists concluded that there are just too many factors—both concordant and contrarian—to understand. And with so many potential gaps in information, almost nobody can see the whole picture. Complex systems have severe limits, not only to predictability but also to measurability. Some complexity theorists argue that modelling, while useful for thinking and for studying the complexities of the world, is a particularly poor tool for predicting what will happen."

"Economists also use models to learn about the world, but instead of being made of plastic, they are most often composed of diagrams and equations. Like a biology teacher’s plastic model, economic models omit many details to allow us to see what is truly important. Just as the biology teacher’s model does not include all the body’s muscles and capillaries, an economist’s model does not include every feature of the economy."

"Mughal painting is a particular style of South Asian painting, generally confined to miniatures either as book illustrations or as single works to be kept in albums, which emerged from Persian miniature painting, with Indian Hindu, Jain, and Buddhist influences, and developed largely in the court of the Mughal Empire (16th - 19th centuries), and later spread to other Indian courts, both Muslim and Hindu, and later Sikh."

"Rais'd of themselves, their genuine charms they boast And those who paint 'em truest praise 'em most."

"In general, just as painters in working from models constantly gaze at their exemplar and thus strive to transfer the expression of the original to their own artistry, so too he who is anxious to make himself perfect in all the kinds of virtue must gaze upon the lives of the saints as upon statues, so to speak, that move and act, and must make their excellence his own by imitation."

"As certain as the Correggiosity of Correggio."

"In the Seljuk period, figurative themes of Turco-Mongol character are some what apparent in all the minor arts in both Iran and Iraq. The true Persian miniature, however, which is indisputably the most perfect figurative art on the soil of Islam, did not come into the world until after the conquest of Iran by the Mongols, and more precisely under the rule of the Īl-Khāns (1256). It is modeled upon Chinese painting with its perfect blend of calligraphy and illustration...The link between writing and image remains fundamental to Persian miniatures, which, belongs, as a whole, to the art of books; all the famous miniaturists were calligraphers before becoming painters."

"From the mingled strength of shade and light A new creation rises to my sight, Such heav'nly figures from his pencil flow, So warm with light his blended colors glow. * * * * * * The glowing portraits, fresh from life, that bring Home to our hearts the truth from which they spring."

"Pisarro explained the Neo-Impressionist theories to his dealer Durand-Ruel in a letter written towards the end of 1886. He stressed the importance of Seurat's role as inventor of the theory, and described the new function of colour, which replaced the mechanical mixtures of pigments with optical mixtures, where colours partially fused in the spectator's eye. The component parts of each optical colour mixture were to be painted in separate touches so that they retained their colour purity. When colours were mixed on the palette, they could only be combined with close neighbors on the colour circle, so as to avoid excessive dulling of the hues. Pissaro noted that the great colour theorists who had influenced Seurat's thinking were Chevreul, the Scott Maxwell, and the American Ogden Rood. Optical colour mixtures, they argued, were more luminous than mixed pigments."

"Lautrec was greatly influenced by the techniques, style and subject matter of Degas, who was a close neighbor between 1887 and 1891. ...Like Degas, Lautrec experimented with painting with which was called peinture à l'essence. In Degas' method, oil was drawn out of his colours by placing them on blotting paper. Then the chalky paint was diluted with turpentine and applied like a wash to his support. Because the turpentine spirit evaporated quickly, the colours dried rapidly, so that the paint surface could be reworked and built up without enormous delays. Unlike paint applied thinly in glazes, with this technique the colour dries mat, and has a chalky surface only thinly and sparely coloured."

"For Matisse in particular it often served to separate areas of contrasting colour, assisting in the vibrant activation of such juxtaposed blocks. While the Impressionist use of colour contrasts had concentrated mainly on the complimentary yellow and violet-blue pair, because these most aptly imitated the effects of sunlight and shadow in nature, Matisse shifted to the red-green complementaries. This pair creates the greatest optical vibration when juxtaposed because the two colours are closest in tone of any on the colour circle. As the eye tires of reading, say, the red as dominant, the green at once appears to come forward and dominate. This vacillation of the eye between the two colours vying for dominance sets up an optical vibration, which enhances the colour properties of each simultaneously. By focusing upon the red-green pair—which Matisse often biased towards pink-turquoise—he avoided the emphasis on the naturalistic representation associated with the Impressionists' use of colour. It was also a pair which, again because of tonal equivalence, affirmed the flatness of the picture surface by negating the illusion of depth."

"Matisse began to exploit the more abstract, and... vibrant, oppositions of red-green. ...[T]he properties of colour itself, and the interactions of colour with their power to create light, instead of reproducing the effect of light, were the basis of Matisse's mature art. Colour no longer stood for, or symbolized, anything external to painting itself; it was colour as colour."

"If they could forget for a moment the correggiosity of Correggio and the learned babble of the sale-room and varnishing Auctioneer."

"What avails, then, the folly of the painter, who from sinful love of gain depicts that which should not be depicted—that is, with his polluted hands he tries to fashion that which should only be believed in the heart and confessed with the mouth? He makes an image and calls it Christ."

"If anyone shall endeavor to represent the forms of the Saints in lifeless pictures with material colors which are of no value (for this notion is vain and introduced by the devil), and does not rather represent their virtues as living images in himself, let him be anathema!"

"A picture is a poem without words."

"Paint me as I am. If you leave out the scars and wrinkles, I will not pay you a shilling."

"Hard features every bungler can command: To draw true beauty shows a master's hand."

"Pictures must not be too picturesque."

"Paint me as I am," said Cromwell, "Rough with age and gashed with wars; Show my visage as you find it, Less than truth my soul abhors."

"Sixtenth century represents the zenith of Ottoman miniature painting. During this time, the influences of the late 15th and early 16th centuries—the encounters with western European portraiture, the growing emphasis on historiographical painting, the impact of ;nautical cartography, and the enduring influence of the Persian legacy – began to crystallize into distinctly Ottoman styles and genres."

"I was always aware, reading Chesterton, that there was someone writing this who rejoiced in words, who deployed them on the page as an artist deploys his paints upon his palette. Behind every Chesterton sentence there was someone painting with words, and it seemed to me that at the end of any particularly good sentence or any perfectly-put paradox, you could hear the author, somewhere behind the scenes, giggling with delight."

": My painting will have to tell many stories. It should be large enough to hold everything. Everything, all the people. There must be a hundred of them. I will work like the spider I saw this morning building its web.First it finds an anchoring point. Here, the heart of my web."

"A flattering painter, who made it his care To draw men as they ought to be, not as they are."

"One picture in ten thousand, perhaps, ought to live in the applause of mankind, from generation to generation until the colors fade and blacken out of sight or the canvas rot entirely away."

"It was to the painters of the previous generation that Monet turned... Boudin summed up clothed figures in rapidly noted dashes of color... that... merged the identities of color and line; Jongkind... made sky, rooftops, water, and foliage shimmer in separate dabs of bright paint; Corot employed broad bands of buttery pigment to give the sense of sunlight streaking through foliage to fall on meadow or forest road; Diaz and Rousseau put spots of paint side by side to create a surface mosaic of foliage; Courbet commonly used opaque paint, scraped and dabbed with a palette knife, to form a patchwork of textured areas that adhered as much to surface as to imagined depth. ...Courbet ...insisted that one must paint what one actually sees ...Monet's improvised technique, "sketchy" even in the most finished areas, was ...a further development of the free, somewhat rough way of applying paint which had characterized the mid-century vanguard. In Courbet... free handling was equated with opposition to authority... For other[s] of the same generation, sketchiness was considered forward-looking, independent, and "democratic"... opposed to the highly finished surfaces of officially sanctioned art. Daubigny was accused of giving mere "impressions" of nature... and Millet's shaggy surfaces were treated... as appropriate to his peasant subjects. ...Sincerity, truth, immediacy, spontaneity, natural light, and color, the banishing of muddy colors, the distrust of smooth finish—these were the moral underpinnings of artistic technique that Monet adopted."

"Well, something must be done for May, The time is drawing nigh— To figure in the Catalogue, And woo the public eye.Something I must invent and paint; But oh my wit is not Like one of those kind substantives That answer Who and What?"

"Delphinum sylvis appingit, fluctibus aprum."

"He that seeks popularity in art closes the door on his own genius: as he must needs paint for other minds, and not for his own."

"Nequeo monstrare et sentio tantum."

"I am not sick. I am broken. But I am happy to be alive as long as I can paint."

"The form of my painting is the content."

"Le Bain... has proved as defiant in execution as it had been in conception... [H]e abandoned , a technique perfected by Leonardo da Vinci and exploited by successful Salon painters... Manet... did away with most... half-tones—the transitions between highlights and shadows—such that his figures... looked harshly lit. ...Since an optical illusion makes light colors advance and dark ones recede, most artists painted a dark undercoat... la sauce.., a transluscent mixture of linseed oil, turpentine and often bitumen... Manet... after The Absinthe Drinker, working instead on canvases treated with off-white primers... gave Le Bain a greater luminosity... at the expense of... spatial recession [depth]. ...Painters were usually trained to create a subtle relief on the surface... Dark colors, such as... for shadows, were spread very thin while highlights were "loaded" or "impasted"... in thick layers... [T]ogether with the darker undercoat... whites would advance and the darks retreat. ...Manet boldly disregarded this practice in Le Bain... Though a few... as Gèricault and Courbet, had... experimented with this technique, the boldness of Manet's application witnessed... a new direction in art."

"Monet and Renoir... concentrated... on the waters of the Seine sparkling... dissolving solid forms into dazzling patches of color. Monet... excelled at... light shimmering on the waves. He worked on the same pale ground favored by Manet but... highlighted... with vibrant pigments, some... newly invented... added... in small commas and dashes. Advances in chemistry... meant nineteenth-century painters possessed a much wider range of pigments... [M]any painters... [had] learned to tone down their works by coating them with transparent brownish glazes made from... ingredients... as bitumen. ...Painters who challenged this prejudice against color... notably Delacroix... found themselves reviled by conservative critics. ...The coruscating reflections in [Monet's] La Grenouillère canvases owed much to his use of pigments such as chromium oxide green and cobalt violet. The former... produced from a... reaction involving salts and , was manufactured... in 1862. Cobalt violet [was] invented in 1859 by... Jean Salvétat... Monet blended it with to create a shimmering water... He would eventually... regard this... pigment as an essential for capturing... light and shade: "I have finally discovered the color of the atmosphere... It is violet." ...Monet might never have discovered the true nature of the atmosphere without... chemists..."

"Ottoman miniature painting gave up the warmth, the whimsy, the theatricality, and the multiple meanings of Iranian art in favor of realism, which was also expressed in Ottoman maps, fortress plans and geographies."

"The only good copies are those which exhibit the defects of bad originals."

"The picture that approaches sculpture nearest Is the best picture."

"One question conditions the dynamics and balance of color in the composition of a painting: whence the source of light?"

"Vain is the hope by colouring to display The bright effulgence of the noontide ray Or paint the full-orb'd ruler of the skies With pencils dipt in dull terrestrial dyes."

"Painting responded to the plague-darkened vision of the human condition provoked by repeated exposure to sudden, inexplicable death. Tuscan painters reacted against Giotto's serenity, preferring sterner, hieratic portrayals of religious scenes and figures. The "Dance of Death" became a common theme for art; and several other macabre motifs entered the European repertory."

"I'll get an inspiration and start painting; then I'll forget everything, everything except how things used to be and how to paint it so people will know how we used to live."

"I mix them with my brains, sir."

"What do you think an artist is? An imbecile who has only eyes if he is a painter, ears if he's a musician, or a lyre in every chamber of his heart if he's a poet, or even, if he's a boxer, only some muscles? Quite the contrary, he is at the same time a political being constantly alert to the horrifying, the passionate or pleasing events of the world, shaping himself completely in their image... No, painting is not made to decorate apartments. It's an offensive and defensive weapon against the enemy."

"Look for the kind of nature that suits your temperament. The motif should be observed more for shape and color than for drawing. There is no need to tighten the form which can be obtained without that. Precise drawing is dry and hampers the impression of the whole, it destroys all sensations. Do not define too closely the outlines of things; it is the brushstroke of the right value and color which should produce the drawing. In a mass, the greatest difficulty is not to give the contour in detail, but to paint what is within. Paint the essential character of things, try to convey it by any means whatsoever, without bothering about technique.—When painting, make a choice of subject, see what is lying at the right and what at the left, and work on everything simultaneously. Don't work bit by bit but paint everything at once by placing tones everywhere, with brushstrokes of the right color and value, while noticing what is alongside. Use small brushstrokes and try to put down your perceptions immediately. The eye should not be fixed on one point, but should take in everything, while observing the reflections which the colors produce on their surroundings. Work at the same time upon the sky, water, branches, ground, keeping everything going on an equal basis and unceasingly rework until you have got it. Cover the canvas at the first go, then work at it until you can see nothing more to add. Observe the aerial perspective as well, from the foreground to the horizon, the reflection of the sky, of foilage. Don't be afraid of putting on color, refine the work little by little.—Don't proceed according to rules and principles, but paint what you observe and feel. Paint generously and unhesitatingly, for it is best not to lose the first impression you feel. Don't be timid in front of nature: one must be bold, at the risk of being deceived and making mistakes. One must have only one master—nature; she is the one always to be consulted."

"You who are sitting before me have the power to change my consciousness into painting, poem, melody or anything else!"

"I accept the fact that the important painting of the last hundred years was done in France. American painters have generally missed the point of modern painting from beginning to end.. ..Thus the fact that good European moderns (European artists who lived in the U.S. because of the Nazi-regime, fh) are now here is very important, for they bring with them an understanding of the problems of modern painting. I am particularly impressed with their concept of the source of art being the unconscious. These idea interests me more than these specific artists do, for the two artists I admire most, Picasso and Miró, are still abroad."

"He best can paint them who shall feel them most."

"Lely on animated canvas stole The sleepy eye, that spoke the melting soul."

"The fellow mixes blood with his colors."

"I arrange my subject as I want it, then I go ahead and paint it, like a child. I want a red to be sonorous—to sound, like a bell; if it doesn't turn out that way, I put more reds or other colors till I get it. I am no cleverer than that. I have no rules and no methods; any one can look over my materials or watch how I paint—he will see that I have no secrets. I look at a nude; there are myriads of tiny tints. I must find the ones that will make the flesh on my canvas live and quiver. Nowadays they want to explain everything. But if they could explain a picture it wouldn't be art. Shall I tell you what I think are the two qualities of a work of art? It must be indescribable and it must be inimitable. ...So in our Gothic architecture: each column is a work of art, because the old French monk who set it up and carved its capital did what he liked—not doing everything alike, as... when things are made by machinery or by rules, but each thing different—like the trees in the forest. The work of art must seize upon you, wrap you up in itself, carry you away. It is the means by which the artist conveys his passion; it is the current which he puts forth which sweeps you along in his passion."

"It was Pissarro's sympathetic attitude to all sincere efforts which prompted Theo van Gogh to ask him... whether he could help his brother. After his first attack, Vincent had remained for one year at the Saint-Rémy Asylum... where he had been able to work between repeated spells of madness... [He] had asked Theo to find him a place near Paris... At Theo's request Pissarro was ready to take Vincent into his house... but Madame Pissarro was afraid [for] her children. Pissarro thereupon recommended his old friend, Dr. Gachet at Auvers, who declared himself willing to take care of Vincent. The latter came to Auvers in May 1890; he killed himself there in July of the same year... After the suicide... Theo van Gogh fell seriously ill; he was taken to Holland and died in January 1891. He was replaced at the gallery... M. Boussod, the owner, complained that Theo... had "accumulated appalling things by modern painters which had brought the firm to discredit. Indeed, Theo had left a stock of works by Degas, Gauguin, Pissarro, Guillaumin, Redon, Lautrec, Monet and others. According to M. Boussod only Monet's canvases were saleable..."

"Painting with all its technicalities, difficulties, and peculiar ends, is nothing but a noble and expressive language, invaluable as the vehicle of thought, but by itself nothing."

"If it is the love of that which your work represents — if, being a landscape painter, it is love of hills and trees that moves you — if, being a figure painter, it is love of human beauty, and human soul that moves you — if, being a flower or animal painter, it is love, and wonder, and delight in petal and in limb that move you, then the Spirit is upon you, and the earth is yours, and the fullness thereof."

"Look here, upon this picture, and on this."

"What demi-god Hath come so near creation?"

"I will say of it, It tutors nature: artificial strife Lives in these touches, livelier than life."

"The painting is almost the natural man: For since dishonour traffics with man's nature, He is but outside; pencill'd figures are Ev'n such as they give out."

"Wrought he not well that painted it? He wrought better that made the painter; and yet he's but a filthy piece of work."

"With hue like that when some great painter dips His pencil in the gloom of earthquake and eclipse."

"… ζωγραφίαν ποίησιν σιωπῶσαν προσαγορεύει [sc. ὁ Σιμωνίδης], τὴν δὲ ποίησιν ζωγραφίαν λαλοῦσαν."

"There is no such thing as a dumb poet or a handless painter. The essence of an artist is that he should be articulate."

"But who can paint Like nature? Can Imagination boast, Amid its gay creation, hues like hers?"

"Take a piece of glass of the size of a half sheet of royal folio paper, and fix it... between your eye and the object you wish to portray. Then move it away until your eye is two-thirds of a braccio away from the piece of glass, and fasten your head by means of an instrument in such a way as to prevent any movement of it whatsoever. Then close or cover up one eye, and with a brush or a piece of red chalk finely ground mark out on the glass what is visible beyond it; afterwards, copy it by tracing on paper from the glass, then prick it out upon paper of a better quality and paint it if you so desire, paying special attention to the aerial perspective."

"If you wish to thoroughly accustom yourself to correct and good positions for your fingers, fasten a frame or a loom divided into squares by threads between your eye and the nude figure which you are representing, and then make the same squares upon the paper where you wish to draw the said nude but very faintly. You should then put a pellet of wax on a part of the network to serve as a mark which as you look at your model should always cover the pit of the throat, or if he should have turned his back make it cover one of the vertebrae of the neck. ...The squares you draw may be as much smaller than those of the network in proportion as you wish your figure to be less than life size..."

"When you wish to see whether the general effect of your picture corresponds with that of the object represented after nature, take a mirror and set it so that it reflects the actual thing, and then compare the reflection with your picture, and consider carefully whether the subject of the two images is in conformity with both, studying especially the mirror. The mirror ought to be taken as a guide... you see the picture made upon one plane showing things which appear in relief, and the mirror upon one plane does the same. The picture is on one single surface, and the mirror is the same. ...if you but know well how to compose your picture it will also seem a natural thing seen in a great mirror."

"[I]n 1892, Cézanne executed one of his most important works, '... It was in this same year that I saw Cézanne's pictures for the first time. It was at Tanguy's... Père Tanguy, a color merchant on a small scale, was the benefactor of more than one unrecognized artist. He considered himself something of a "rebel" because he had not been shot down under the Commune by the party of law and order. In reality he was just a good old soul who extended credit to impecunious artists, and took a passionate interest in their work. But he had a marked predilection for those whom he called with respectful emphasis, "the gentlemen of the School": Guillaumin, Van Gogh, Pissarro, and Vignon, to mention only a few. To his way of thinking, being one of the "School" was equivalent to being "modern": which meant that one must banish "tobacco juice" from the palette forever, and paint "thick." But with good-hearted indulgence, he grudgingly bestowed his respect... upon the luckless painter who honestly sought to earn his daily bread with ivory black. And if the truth were known, Père Tanguy, in common with the very "philistines" whom he scorned, was convinced at the bottom of his heart that hard work and good behavior were not merely prerequisites, but indispensable elements of success. Accordingly, referring to the author [Cézanne] of a picture done with the forbidden "thin mediums," he said candidly, "He's not one of the 'School'; he'll have a hard time arriving. But he'll get there in the end; he never plays the races and he doesn't drink a drop!""

"They dropped into the yolk of an egg the milk that flows from the leaf of a young fig-tree, with which, instead of water, gum or gumdragant, they mixed their last layer of colours."

"In western India, Jainism, an Indian religion which expounded renunciation and asceticism, gave rise to unique miniatures which flowered into the school of Rajasthani painting. The miniature paintings commenced with the patronage of the Jain merchants of Gujarat in the fourteenth century. The painting they commissioned were of illustrations of Jain Royalty and deities which were painted on dried palm leaves and bound in wooden covers...when paper was introduced in the last quarter of the fourteenth century, as somewhat large format became available...They were part of the illustrated texts which were preserved in temple libraries. The illustrated text inspired much of the later Hindu miniature paintings."

"The themes of Mithuna and Maithuna continued in paintings created during the Mughal and British rules (15-19th CE), mainly in Rajasthan and Himachal Pradesh. The erotic themes of the Hindu miniature paintings represented loves of divine couples."

"In such miniature paintings the theme of lyric poetry was depicted with strong confident lines, throbbing colours, and bold patterns, but controlled workmanship. The lively landscape created a standard for these outstanding illustrations."

"The ornamental borders framing the miniature paintings seem to be inspired by the decorative designs on the Mughal carpets."

"I would I were a painter, for the sake Of a sweet picture, and of her who led, A fitting guide, with reverential tread, Into that mountain mystery."

"A portrait miniature is a miniature portrait painting, usually executed in gouache, water colour, or enamel. Portrait miniatures developed out of the techniques of the miniatures in illuminated manuscripts, and were popular among 16th-century elites, mainly in England and France, and spread across the rest of Europe from the middle of the 18th-century, remaining highly popular until the development of daguerreo types and photography in the mid-19th century. They were especially valuable in introducing people to each other over distances; a nobleman proposing the marriage of his daughter might send a courier with her portrait to visit potential suitors. Soldiers and sailors might carry miniatures of their loved ones while traveling, or a wife might keep one of her husband while he was away. The first miniaturists used water colour to paint on stretched vellum. During the second half of the 17th century, vitreous enamel painted on copper became increasingly popular, especially in France. In the 18th century, miniatures were painted with water colour on ivory, which had now become relatively cheap. As small in size as 40 mm × 30 mm, portrait miniatures were often used as personal w:Mementosmementos or as jewellery or snuff box covers."

"We Indians live in a world of symbols and images where the spiritual and the commonplace are one. To you symbols are just words, spoken or written in a book. To us they are part of nature, part of ourselves, even little insects like ants and grasshoppers. We try to understand them not with the head but with the heart, and we need no more than a hint to give us the meaning."

"In a sense, the American Indian perceives all that exists as symbolic. This outlook has given currency to the concept of the Indian as one who is close to the earth, but the closeness is actual, not a quaint result of savagism or childlike naiveté. An Indian, at the deepest level of being, assumes that the earth is alive in the same sense that human beings are alive. This aliveness is seen in nonphysical terms, in terms that are perhaps familiar to the mystic or the psychic, and this view gives rise to a metaphysical sense of reality that is an ineradicable part of Indian awareness. In brief, we can say that the sun or the earth or a tree is a symbol of an extraordinary truth."

"Symbols in American Indian systems are not symbolic in the usual sense of the word. The words articulate reality—not “psychological” or imagined reality, not emotive reality captured metaphorically in an attempt to fuse thought and feeling, but that reality where thought and feeling are one, where objective and subjective are one, where speaker and listener are one, where sound and sense are one."

"The symbol is the tool which gives man his power, and it is the same tool whether the symbols are images or words, mathematical signs or s."

"[S]ymbols have a reach and a roundness that goes beyond their literal and practical meaning. They are the rich concepts under which the mind gathers many particulars into one name, and many instances into one general induction."

"King Arthur had a dream, too. Of a world where might served right, instead of subjugating it. His knights of the Round Table were the agents of that dream … and his sword, Excalibur, the Symbol of it. He died, the table was destroyed, his knights mostly slain — yet the dream survived. They became legend — and the sword, the means of keeping the legend alive and vital through the ages. … The sword Excalibur, represented Hope. It was light in the darkness of fear and ignorance and hate. Do we want — have we the right — to snuff it out?"

"We are symbols, and inhabit symbols."

"We often dismiss controversies or concerns by waving our hands and saying something like, “Oh, that’s merely symbolic,” as if the meaning we give to symbols is somehow irrelevant compared with more tangible things. But symbolism — the way we reduce broad concerns, agendas, and visions to images or rituals — has played a defining role in human life since there have been humans. Try burning a flag or a cross in front of the wrong audience and then tell me symbolism is nothing."

"I think, here is your emblem To hang in the future sky; Not the cross, not the hive, But this; bright power, dark peace; Fierce consciousness joined with final Disinterestedness; Life with calm death; the falcon’s Realist eyes and act Married to the massive Mysticism of stone, Which failure cannot cast down Nor success make proud."

"Reason will not decide at last; the sword will decide. The sword: an obsolete instrument of bronze or steel, formerly used to kill men, but here In the sense of a symbol."

"Science and mathematics Run parallel to reality, they symbolize it, they squint at it, They never touch it: consider what an explosion Would rock the bones of men into little white fragments and unsky the world If any mind for a moment touch truth."

"In fact a man in love or one consumed with hatred creates symbols for himself, as a superstitious man does, from a passion of conferring uniqueness on things or persons. A man who knows nothing of symbols is one of Dante's sluggards. This is why art mirrors itself in primitive rites or strong passions, seeking for symbols, revolving round the primitive taste for savagery, for what is irrational (blood and sex)."

"All religious expression is symbolism; since we can describe only what we see, and the true objects of religion are The Seen. The earliest instruments of education were symbols; and they and all other religious forms differed and still differ according to external circumstances and imagery, and according to differences of knowledge and mental cultivation. All language is symbolic, so far as it is applied to mental and spiritual phenomena and action. All words have, primarily, a material sense, howsoever they may afterward get, for the ignorant, a spiritual non-sense. To "retract," for example, is to draw back, and when applied to a statement, is symbolic, as much so as a picture of an arm drawn back, to express the same thing, would he. The very word "spirit" means " breath," from the Latin verb spiro, breathe."

"It is not in the books of the Philosophers, but in the religious symbolism of the Ancients, that we must look for the footprints of Science, and re-discover the Mysteries of Knowledge."

"Promethea: Don't worry, some symbols always means the same thing...and the archetype of wisdom is eternal."

"Art is the symbol of the two noblest human efforts: to construct and to refrain from destruction."

"Concern for the symbol has completely disappeared from our science. And yet, if one were to give oneself the trouble, one could easily find, in certain parts at least of contemporary mathematics... symbols as clear, as beautiful, and as full of spiritual meaning as that of the circle and mediation. From modern thought to ancient wisdom the path would be short and direct, if one cared to take it."

"In a book called Symbolism, Its Meaning and Effect, Whitehead points out that perception is usually a matter of symbols, just like language; I say I see a book when I actually see a red oblong. The Transactionists (who have been influenced by Whitehead rather than Husserl) take this one stage further, and point out that when I 'perceive' something, I am actually making a bet with myself that what I perceive is what I think it is. In order to act and live at all, I have to make these bets; I cannot afford to make absolutely certain that things are what I think they are. But this means that we should not take our perceptions at face value, any more than Nietzsche was willing to take philosophy at its face value; we must allow for prejudice and distortion."

"With crosses, relics, crucifixes, Beads, pictures, rosaries, and pixes; The tools of working out salvation By mere mechanic operation."

"Science sees signs; Poetry the thing signified."

"It [Catholicism] supplies a multitude of external forms in which the spiritual may be clothed and manifested."

"All things are symbols: the external shows Of Nature have their image in the mind, As flowers and fruits and falling of the leaves."

"Sometime we see a cloud that's dragonish; A vapour sometime like a bear or lion, A tower'd citadel, a pendant rock, A forked mountain, or blue promontory With trees upon 't, that nod unto the world, And mock our eyes with air: thou hast seen these signs; They are black vesper's pageants."

"If he be not in love with some woman, there is no believing old signs: a' brushes his hat o' mornings; what should that bode?"

"Visualization is simply the creation of a strong mental image of the thing desired, the perfecting it each day until it becomes almost as clear as an existing material thing."

"For a musician, visualization is the process of picturing in our minds eye what we hear in our mind's ear. Visualization is something we all do. In fact, putting a visual form before the mind's eye or forming a mental image is something that precedes most things that we do."

"Within the atom occur phenomena concerning which visualization is futile, to which common sense, the guidance from our everyday experience, has no application, which yield to studies by equations that have no meaning except that they work."

"If statistical graphics, although born just yesterday, extends its reach every day, it is because it replaces long tables of numbers and it allows one not only to embrace at glance the series of phenomena, but also to signal the correspondences or anomalies, to find the causes, to identify the laws."

"Only damaged people want good things to happen to them through visualization. They want something for nothing."

"While the film Life of Christ was rolling past before my eyes I was mentally visualizing the gods, Shri Krishna, Shri Ramachandra their Gokul and Ayodhya.. I was gripped by a strange spell. I bought another ticket and saw the film again. This time I felt my imagination taking shape in the screen. Could this really happen? Could we the sons of India, ever be able to see Indian images on the screen. The whole night passed in this mental agony."

"Since geometry is the right foundation of all painting, I have decided to teach its rudiments and principles to all youngsters eager for art."

"Our intellectual powers are rather geared to master static relations and that our powers to visualize processes evolving in time are relatively poorly developed. For that reason we should do (as wise programmers aware of our limitations) our utmost to shorten the conceptual gap between the static program and the dynamic process, to make the correspondence between the program (spread out in text space) and the process (spread out in time) as trivial as possible."

"No man can visualize four dimensions, except mathematically … I think in four dimensions, but only abstractly. The human mind can picture these dimensions no more than it can envisage electricity. Nevertheless, they are no less real than electro-magnetism, the force which controls our universe, within, and by which we have our being."

"To understand animal thinking you've got to get away from a language. See my mind works like Google for images. You put in a key word; it brings up pictures. See language for me narrates the pictures in my mind. When I work on designing livestock equipment I can test run that equipment in my head like 3-D virtual reality. In fact, when I was in college I used to think that everybody was able to do that. And language just sort of, you know, gives an opinion. Like, oh, that's a good idea or oh, I just figured out how to design that."

"When you visualized a man or woman carefully, you could always begin to feel pity — that was a quality God's image carried with it. When you saw the lines at the corners of the eyes, the shape of the mouth, how the hair grew, it was impossible to hate. Hate was just a failure of imagination."

"However the development proceeds in detail, the path so far traced by the quantum theory indicates that an understanding of those still unclarified features of atomic physics can only be acquired by foregoing visualization and objectification to an extent greater than that customary hitherto..."

"God desires to indwell in my whole and total heart and cannot in any way tolerate my having an image in my mind's eye."

"The nature of the pigments provides the basis for sensations of light and color; that is, brightness, hue and saturation. The geometrical demarcation of these qualities provide the physical basis for perception of areas and their shapes. Altogether, these factors constitute the vocabulary of the language of vision, and are acting as the optical forces of attraction."

"The medium of printed scientific text is first of all a visual one."

"Understanding how maps work and why maps work (or do not work) as representations in their own right and as prompts to further representations, and what it means for a map to work, are critical issues as we embark on a visual information age."

"Writing turned a spotlight on the high, dim Sierras of speech; writing was the visualization of acoustic space. It lit up the dark."

"I attack both from the logic-side, scribbling outline after outline, and the long-walk relaxed-visualization-side, and while neither alone is enough, the combination synergizes. Which is just a fancy way of saying, "I think about it a lot, day and night.""

"It's not like you just have any old hallucination, you'll have a visualisation of exactly what the ritual is set up to provide, so if you summon the Greek god Hermes you will see the Greek god Hermes. But I began to get different ideas about what these things really were and I was more interested in the effect rather than the explanation because I didn't believe in gods or devils or demons, but I knew that there was something - these were like mechanisms, these rituals that could trigger states of mind."

"One of the curious psychological facts, in connection with the various ways in which various minds function, is the fact that when in these days we seek to visualize, in some pictorial manner, our ultimate view of life, the images which are called up are geometrical or chemical rather than anthropomorphic. It is probable that even the most rational and logical among us as soon as he begins to philosophize at all is compelled by the necessity of things to form in the mind some vague pictorial representation answering to his conception of the universe. Most minds see the universe of their mental conception as something quite different from the actual stellar universe upon which we all gaze. Even the most purely rational minds who find the universe in "pure thought" are driven against their rational will to visualize this "pure thought" and to give it body and form and shape and movement."

"I think a picture is more like the real world when it is made out of the real world."

"We are frequently faced with the necessity of looking for the picture required for the visualization of an object, not in the perception of this particular object, but in a different perceptual image. ...we can assert the discrepancy between the perceived picture and the objective state. This discrepancy... proves absolutely nothing against the fact that all visualizations are merely sense qualities of the perceptual space. ...If the parallelism is ...to be visualized, we must supplement our assertion by the description of certain qualities with which we are familiar from perceptual space."

"There is no pure visualization in the sense of a priori philosophies; every visualization is determined by previous sense perceptions, and any separation into perceptual space and space of visualization is not permissible, since the specifically visual elements of the imagination are derived from perceptual space. What led to the mistaken conception of pure visualization was rather an improper interpretation of the normative function... an essential element of all visual representations. Indeed, all arguments which have been introduced for the distinction of perceptual space and space of visualization are base on this normative component of the imagination."

"For some queer and deplorable reason most human beings are more impressed by words than by figures, to the great disadvantage of mankind."

"Imagery played a central role in theories of the mind for centuries. For example, the British Associationists conceptualizes thought itself as sequences of images. And, Wilhelm Wundt, the founder of scientific psychology, emphasized the analysis of images. However, the central role of imagery in theories of mental activity was undermined when Kulpe, in 1904, pointed out that some thoughts are not accompanied by imagery (e.g., one is not aware of the processes that allow one to decide which of two objects is heavier)."

"To name is to make visible."

"I devoted several months in privacy to the composition of a treatise on the mysteries of Three Dimensions. Only, with the view of evading the Law, if possible, I spoke not of a physical Dimension, but of a Thoughtland whence, in theory, a Figure could look down upon Flatland and see simultaneously the insides of all things, and where it was possible that there might be supposed to exist a Figure environed, as it were, with six Squares, and containing eight terminal Points. But in writing this book I found myself sadly hampered by the impossibility of drawing such diagrams as were necessary for my purpose..."

"I have always believed that all Members of this House should be sufficiently articulate to express what they want to say without diagrams."

"Make no little plans; they have no magic to stir men's blood and probably themselves will not be realized. Make big plans; aim high in hope and work, remembering that a noble, logical diagram once recorded will not die, but long after we are gone be a living thing, asserting itself with ever-growing insistence..."

"How could one argue with a man who was always drawing lines and circles to explain the position; who, one day, drew a diagram [here Michael illustrated with pen and paper] saying 'take a point A, draw a straight line to point B, now three-fourths of the way up the line take a point C. The straight line AB is the road to the Republic; C is where we have got to along the road, we canot move any further along the straight road to our goal B; take a point out there, D [off the line AB]. Now if we bend the line a bit from C to D then we can bend it a little further, to another point E and if we can bend it to CE that will get us around Cathal Brugha which is what we want!' How could you talk to a man like that?"

"Schematic diagrams are more abstract than pictorial drawings, showing symbolic elements and their interconnection to make clear the configuration and/or operation of a system."

"A diagram is a graphic shorthand. Though it is an ideogram, it is not necessarily an abstraction. It is a representation of something in that it is not the thing itself. In this sense, it cannot help but be embodied. It can never be free of value or meaning, even when it attempts to express relationships of formation and their processes. At the same time, a diagram is neither a structure nor an abstraction of structure."

"Steve Mellor and I independently came up with a characterization of the three modes in which people use the UML: sketch, blueprint, and programming language. By far the most common of the three, at least to my biased eye, is UML as sketch. In this usage, developers use the UML to help communicate some aspects of a system. As with blueprints, you can use sketches in a forward-engineering or reverse-engineering direction. Forward engineering draws a UML diagram before you write code, while reverse engineering builds a UML diagram from existing code in order to help understand it."

"To show this diagram properly, I would really need a four dimensional screen. However, because of government cuts, we could manage to provide only a two dimensional screen."

"Peirce (1932: 2.278) distinguishes two kinds of icons: pictures and diagrams, the latter of which he illustrates with the example of an electrical wiring diagram in relation to the wiring itself. But the difference between a picture and a diagram, as Peirce himself notes, is relative. The picture always abstracts from some features of the object it portrays, e.g., three-dimensionality in painting. The diagram is simply more abstract. The difference, then, is one of degree and not of kind."

"I've had enough of breakdowns and diagrams — judging from picture books, apparently Heaven is a partly cloudy place."

"Many different types of pictorial representations are used in instruction. On a scale of very concrete to very abstract, first comes the photograph. Next are true-to-life drawings which lose some detail compared to the photograph. Diagrams are more abstract, but generally depict recognizable objects and preserve spatial relationships. Lastly graphs and plots are completely abstract representations of sets of data."

"A diagram, indeed, so far as it has a general signification, is not a pure icon; but in the middle part of our reasonings we forget that abstractness in great measure, and the diagram is for us the very thing."

"The government are very keen on amassing statistics. They collect them, add them, raise them to the nth power, take the cube root and prepare wonderful diagrams. But you must never forget that every one of these figures comes in the first instance from the chowty dar [chowkidar] (village watchman in India), who just puts down what he damn pleases."

"One day I went alone to the river to enjoy myself as usual. When I was a short distance from the masonry, however, I was horrified to observe that the water had risen and was carrying me along swiftly.… The pressure against my chest was great and I was barely able to keep my head above the surface.… Slowly and gradually I became exhausted and unable to withstand the strain longer. Just as I was about to let go, to be dashed against the rocks below, I saw in a flash of light a familiar diagram illustrating the hydraulic principle that the pressure of a fluid in motion is proportionate to the area exposed and automatically I turned on my left side. As if by magic, the pressure was reduced."

"He was the kind of man who kept a diagram showing where you sat when you dined with him and what you ate, lest he serve you the same dish when you came again."

"Some officials being disposed, not infrequently, to regard themselves as equal, if not superior to men who are really their masters, it is essential to the well-being of all industrial concerns to have a definite organisation under which responsibility may not only be fixed, but the relative positions or rank of the officials clearly defined. For this purpose it is necessary to have recourse to a diagram such as the Specimen (see image)... The diagram should be carefully drawn in bold lines and clear letters on a sheet of drawing paper not less than 'double elephant' size. It should then be framed and placed in a conspicuous position in the general offices... The diagram can of course be varied to suit particular organisations, though, as it stands, it is as nearly as possible in accordance with the general practice prevailing in this country..."

"The tendency of modern commercial systems to find expression in organization charts has heretofore confined itself principally to manufacturing plants and secondarily to retail and wholesale houses. Such a chart as applied to an organization whose business it is to do building work is of peculiar interest not only because it is an innovation, but because of the many phases of work, none of which are necessarily dependent on the other from a business standpoint, which it must cover."

"What may be termed the anatomy of an industrial body, is most graphically shown by means of charts. Free use of charts will be made throughout these papers. With properly designed charts the logical divisions of authority or expense can be clearly shown. Fig. 1 furnishes a graphic illustration of the principal components of the organization under discussion. In the first group we find the owners (stockholders) whose line of communication with the business is through the board of directors. Subordinate to the board of directors are its own executive officers, the executive committee, and general manager. The connecting lines show the executive committee to be in direct communication with the board of directors, while the general manager is in direct communication with both the executive committee and the board of directors. Under the general manager are the commercial and manufacturing divisions, over both of which he has direct supervision."

"Organization charts. — A chart showing clearly the line of authority and of responsibility of each individual in an organization will go far toward removing many inter-departmental jealousies. The chart should be so simple that it is self-explanatory upon inspection. Each man's position is thus made perfectly clear and he easily informs himself as to what course to take when transacting business with other departments. If applied to a factory, each workman will know to what particular gang boss or job boss he is directly responsible; each gang boss or job boss will know to what foreman he must report; and each foreman will know to what superintendent he is responsible; and each superintendent will know where his authority begins and ends with respect to other departmental heads. Further-more, the chart should show who is responsible for machines and equipment. To be most effective the chart should be hung in a conspicuous place. Each of the manufacturing departments should have one as well as the office; 24x36 inches is a suitable size. When made in the form of blue-prints charts are inexpensive, but they should be framed and protected by glass, to shield them from pencil markings and other injuries."

"Organization aims to unite individuals into a body which shall work together for a common end. Specifically, organization prepares for the transaction of business by electing and appointing officers and committees, delegating authorities and bringing into systematic connection and cooperation, each and every part of the industrial body. Right organization, in short, puts vitality into the entire factory, secures the efficient working-together of all employees, from the manager's office to the mechanic's bench, routes materials, sub-divides work, inspects output and delivers the right goods, fully processed, at the shipping room door on the correct delivery date. In analyzing organization work, a single chart can frequently express more than any amount of detailed written explanation. First of all, clearly define authorities within your establishment ; then chart those authorities simply and graphically, so that every workman knows to whom he is responsible, and every executive knows who is responsible to him. Place this chart conspicuously in every department where each employee can see it. In case of disputed authority, final proof is immediately at hand. There is then no loop-hole through which a neglectful workman, foreman or executive can crawl no longer does he have the excuse that he "thought somebody else was going to do it." In clean-cut form, his duties and relations to other men of the organization are laid down once and for all, and responsibility rests on the right man. Failure so to specify responsibilities inevitably means confusion all down the line."

"The frame work of the entire organization should be sketched, and the particular place in the scheme of things which his department and his position occupy should be explained. Almost any one can be shown a particular location on a map. An organization chart is a map."

"The Finished Plan. — The particular part of the organization to be re-organized having been selected, the plan when completed should consist of:"

"An Organization Chart is a cross section picture covering every relationship in the bank. It is a schematic survey showing department functions and interrelations, lines of authority, responsibility, communication and counsel. Its purpose is “to bring the various human parts of the organization into effective correlation and co-operation.""

"The organization chart is a diagram showing graphically the relation of one official to another, or others, of a company. It is also used to show the relation of one department to another, or others, or of one function of an organization to another, or others. This chart is valuable in that it enables one to visualize a complete organization, by means of the picture it presents. There is no accepted form for making organization charts other than putting the principal official, department or function first, or at the head of the sheet, and the others below, in the order of their rank. The titles of officials and sometimes their names are enclosed in "boxes" or circles. Lines are generally drawn from one "box" or circle to another to show the relation of one official or department to the others."

"Use of Organization Charts - Much has to be done to promote the popularity of these charts by industrial engineers, altho at the present time they are not common among ordinary business concerns. Tho they are beginning to find their way into administrative and business enterprises, considering their demonstrated value the use of these charts is comparatively slight."

"In 1918 an inquiry was made by Dr. L. P. Ayres of the Division of Statistics for organization charts from as many as 105 different business enterprises. Of the 58 replies received, 30 showed that no organization charts were available tho in a number of instances it was stated that organization charts made sometime before had not been kept up to date and did not, therefore, represent the conditions then prevailing in the business. From 28 concerns the actual charts were received."

"To the student of business structure the organization chart is what the anatomical chart is to the student of the human body. It is a device by means of which relations of the different parts of the organization can be brought out more clearly than by a verbal description. The student of business derives from them the same sort of aid that the student of medicine does from the anatomical chart, which enables him to visualize the organs of the human body. While the analogy is helpful, it is like every other analogy, in being only partial."

"An organization chart is merely an administrative device which enables an executive to see the men who are responsible for performing the activities of the company."

"In preparing organization charts of an established concern, care should be exercised to see that the charts portray conditions exactly as they are, and not merely as the author thinks they should be. One of the greatest values of organization charts and write-ups is the knowledge gained through the study of conditions made necessary in compiling the data. The thorough analysis of organization conditions, the impartial study of personnel, and the actual putting down in black and white bring out forcefully loose ends and weaknesses in the organization structure that otherwise might never be recognized and would continue an ever fruitful source of waste and an unsuspected obstacle in the path of the growth and development of the company. Only too frequently some of the following conditions are found in the course of the thorough, unbiased study, which is a necessary part of the charting process."

"An organization chart is not to take the place of the printed rules and regulations. Its chief use lies in that it is likely to lead to more careful planning of the organization and the placing of responsibility as well as making the task of defining duties easier. Each superintendent of schools would find that an organization chart would be of great assistance to him in perfecting his organization."

"Because any arrangement of squares, circles, and connecting lines has limitations in what it may portray, the organization chart is best regarded as an illustration accompanying a description of the departments, boards, bureaus..."

"The Hawthorne researchers became more and more interested in the informal employee groups which tend to form within the formal organisation of the Company, and which are not likely to be represented in the organisation chart."

"Comparatively few of the companies surveyed have comprehensive company organization charts, graphically portraying their plans of organization. Even some of the largest companies, with world-wide operations and many subsidiaries, have no organization charts to facilitate proper understanding and study of their organization arrangements. This condition is apparently due to lack of appreciation of the need and value of such charts, reluctance to indicate relative ranking of executive positions which might give rise to dissention, or lack of staff assistants experienced in making simple, effective charts. The companies which do have comprehensive organization charts appear to have the soundest organization plans/ Furthermore, in the course of preparing charts for the companies that did not have them, many obvious organization weaknesses were brought to light which would not be readily apparent except through the charting process. It is therefore felt that a good organization chart for the company as a whole, with a break-down chart for each major division, is an essential first step in the analysis, clarification, and understanding of any organization plan. In some companies organization charts are held very closely, only a few top executives being permitted to see them. In other companies all staff and supervisory employees are given copies of the general organization charts and a comprehensive explanation of the whole plan of organization..."

"The purposes of functional charts is"

"The formal administrative design can never adequately or fully reflect the concrete organization to which it refers, for the obvious reason that no abstract plan or pattern can—or may, if it is to be useful—exhaustively describe an empirical totality. At the same time, that which is not included in the abstract design (as reflected, for example, in a a staff and-line organization chart) is vitally relevant to the maintenance and development of the formal system itself."

"How many people, if asked, could tell you exactly where they fit in, and exactly what their duties, authority, and relationships are with every other member in their organization? If an answer could be given at all, it would require much thought and debate. So, it is difficult to visualize an organization in its entirety, and to clearly picture just where an individual stands in it. Because such difficulties exist for an individual, consider the situation in which top level management finds itself when confronted with the same question. And because necessity is the mother of invention, a tool for management has been invented to enable the manager to quickly locate who is responsible for what, and why. This tool we call the organization chart. It is but one of the tools of management."

"An organization chart is a graphic presentation of the arrangement and interrelationships of the subdivisions and functions of an organization as it exists."

"It is probable that one day we shall begin to draw organization charts as a series of linked groups rather than as a hierarchical structure of individual "reporting" relationships."

"Asked to state the reasons that led them to develop organization charts, the 118 firms gave answers that may be grouped in two classes... One group of responses deals with charting for the purpose of informing employees and outsiders on the nature of an organization structure. The second class of reasons for charting concerns the discovery and cure of organization defects. Many companies, naturally, find themselves using the charting process for both kinds of activity, even though they may have started out with communication as the primary objective. The author found, in many interviews with company executives..., that a firm may start out solely with the idea of developing a graphic representation of the organization for purposes of communication. Before long, however—in the process of setting the organization down on paper—conflicts, duplications, and burdensome spans of control become apparent. The first penciled sketch of the organization may cause astonishment in top management circles. The reaction is often surprise that so many previously undetected weaknesses exist."

"We have already seen that rank in business is, at best, a shaky thing and that the organization chart is a poor device for showing it."

"Since the concentric organization chart has neither top nor bottom, the interpretations of the relationships existing within the organization are not dependent upon the position of the diagram which represents them. Any organization chart is designed to present certain facts about a given organization at given time. These facts or relationships do not depend on viewing the organization from any particular angle or any specific position, which is also the case for the concentric organization chart. However, with the traditional organization chart, the relationships which it intends to portray can be interpreted properly only when the chart is presented to the viewer in a certain position, that is, with the top at the top and the bottom at the bottom. Should this not be done, the organization should be upside down Should this not be done, the organization would be upside down, with relationships existing inversely to the facts of the organizational structure."

"In some firms role relationships prescribed by the chart seemed to be of secondary importance to personal relationships between individuals."

"It is not surprising that the organization chart is a frustrating instrument when used for other purposes, or when the chart is drawn to conform to some executive's ideal rather than to the observable facts of organizational life."

"An organization chart is not the organization itself. Nevertheless, as in the case of the road map and the road system it represents, we can better understand and communicate many aspects of the organization with the benefit of a chart or diagram showing its important components and some relationships among these components."

"No organization chart is likely ever to be displayed in a major art museum. What matters is not the chart but the organization. A chart is nothing but an oversimplification which enables people to make sure that they talk about the same things in discussing organization. One never makes."

"The organization chart will initially reflect the first system design, which is almost surely not the right one […] as one learns, he changes the design... Management structures also need to be changed as the system changes…"

"The Erie's general superintendent (Daniel McCallum) stressed the value of adhering to explicit lines of authority and communication. "All subordinates should be accountable to and be directed by their immediate superiors only; as obedience cannot be enforced where the foreman in immediate charge is interfered with by a superior officer giving orders directly to his subordinates." McCallum, nevertheless, failed to define precisely the relationship between the geographical division superintendent and the other functional managers of the division who reported to the general superintendent. He saw the problem clearly enough, pointing out that there were "some exceptions" to the rule that subordinates can communicate only through their senior officers. For example, "Conductors and station agents report, daily, their operations directly to the General Superintendent," and not to their division superintendents. He thought that the general superintendent would have the time and information needed to coordinate these activities. To illustrate more clearly these lines of authority, McCallum drew up a detailed chart-certainly one of the earliest organization charts in an American business enterprise."

"An organization chart is a drawing depicting how the responsibilities and functions of the organization are divided up among its workers. It usually shows who reports to whom."

"It is sometimes stated that the typical organization chart is undemocratic in that it emphasizes the superiority and inferiority of people and positions."

"The work of all those listed in the organization chart is impossible to acknowledge adequately."

"One must permit his people the freedom to seek added work and greater responsibility. In my organization, there are no formal job descriptions or organization charts. Responsibilities are defined in a general way, so that people are not circumscribed. All are permitted to do as they think best and to go to anyone and anywhere for help. Each person is then limited only by his own ability."

"The organization chart is a sort of map, an if you like, in which all linkages between the individuals listed are complete and no disagreements or omissions occur."

"An organization chart is an example of a graph: the nodes are interpreted as positions in the organization, and the links, the reporting and authority lines."

"It may come as a surprise to the T-oriented analyst that the typical organization chart is a poor guide regarding the locus of power in organizations: Real power does not lie in documents and memos outlining your terms of reference and area of jurisdiction: it lies in what you can achieve in practice."

"An organization chart is a convenient place to begin building planning models. A Note that as an organization is an object, so are the organization units. An organization chart depicts an object aggregation hierarchy"

"The organization chart is a graphic representation of the departmentalization process. Most organization charts are positional; that is, they are organized by title and rank"

"One reason the informal organization chart is never drawn and printed is that it's doubtful every one knows all parts of it."

"An organization chart is, in fact, a type of . Some flowcharts that contain significantly more narrative than others are referred to as narrative flowcharts."

"The organization chart is important for several reasons. It shows each individual's position within the organization. It shows the line responsibilities within the organization and who reports to whom. It shows how the organization is structured and how the various administrative functions within the organization are grouped."

"McCallum quickly moved to install a management system to replace the overloaded manager. He broke his railroad into geographical divisions of manageable size. Each was headed by a superintendent responsible for the operations within his division, Each divisional superintendent was required to submit detailed reports to central headquarters, from where McCallum and his aides coordinated and gave general direction to the operations of the separate divisions. Lines of authority between each superintendent and his subordinates and between each superintendent and headquarters were clearly laid out. In sketching these lines of authority on paper, McCallum created what might have been the first organizational chart for an American business."

"The organization chart is a distortion of how people actually relate to each other. Each line does not represent the same process."

"Organization charts are diagrams that show how people, operations, functions, equipment, activities, etc., are organized, arranged, structured, and/or interrelated. They are applicable with any size of organization. A typical organization chart consists of text enclosed in geometric shapes (sometimes referred to as boxes, enclosures, box enclosures, or symbols) that are connected with lines (sometimes referred to as links) or arrows. Charts of this type generally progress from top to bottom or left to right. Organization charts are sometime considered a variation of flow chart or flow diagram."

"This organization chart is also the point of reference for all Job Descriptions."

"In practice, the organization chart is a poor way to describe the happenings in an organization and almost worthless as a way in which to prescribe the actions of managers at the various hierarchical levels. One of the weaknesses is that the organization chart is purely hierarchical; it may defer to conventional management techniques such as matrix management or 'group working' but its only proper point of reference is that of organizational hierarchy. For a complex and changing organization form... the main purpose of the traditional organization chart seems to be to decide who to blame when something goes wrong."

"Organization charts are subject to important limitations. A chart shows only formal authority relationships and omits the many significant informal and informational relationships."

"An organization chart is a visual display of an organization's structural skeleton. Such charts show how departments are tied together along the principal lines of authority. They show reporting relationships, not lines of communication. Organization charts are tools of management to deploy human resources and are common in both profit and nonprofit organizations."

"This making or imagining of models (not necessarily or usually a material model, but a conceptual model) is a recognised way of arriving at an understanding of recondite and ultra-sensual occurring say in the ether or elsewhere."

"Mere deductive logic, whether you clothe it in mathematical symbols and phraseology or whether you enlarge its scope into a more general symbolic technique, can never take the place of clear relevant initial concepts of the meaning of your symbols, and among symbols I include words. If you are dealing with nature, your meanings must directly relate to the immediate facts of observation. We have to analyse first the most general characteristics of things observed, and then the more casual contingent occurrences. There can be no true physical science which looks first to mathematics for the provision of a conceptual model. Such a procedure is to repeat the errors of the logicians of the middle-ages."

"The 'physical' does not mean any particular kind of reality, but a particular kind of denoting reality, namely a system of concepts in the natural sciences which is necessary for the cognition of reality. 'The physical' should not be interpreted wrongly as an attribute of one part of reality, but not of the other ; it is rather a word denoting a kind of conceptual construction, as, e.g., the markers 'geographical' or 'mathematical', which denote not any distinct properties of real things, but always merely a manner of presenting them by means of ideas.."

"The rule is derived inductively from experience, therefore does not have any inner necessity, is always valid only for special cases and can anytime be refuted by opposite facts. On the contrary, the law is a logical relation between conceptual constructions; it is therefore deductible from upper [übergeordnete] laws and enables the derivation of lower laws; it has as such a logical necessity in concordance with its upper premises; it is not a mere statement of probability, but has a compelling, apodictic logical value once its premises are accepted"

"In the new pattern of thought we do not assume any longer the detached observer, occurring in the idealizations of this classical type of theory, but an observer who by his indeterminable effects creates a new situation, theoretically described as a new state of the observed system. In this way every observation is a singling out of a particular factual result, here and now, from the theoretical possibilities, therefore making obvious the discontinuous aspect of physical phenomena. Nevertheless, there remains still in the new kind of theory an objective reality, inasmuch as these theories deny any possibility for the observer to influence the result of a measurement, once the experimental arrangement is chosen. Therefore particular qualities of an individual observer do not enter into the conceptual framework of the theory."

"Scientists whose work has no clear, practical implications would want to make their decisions considering such things as: the relative worth of (1) more observations, (2) greater scope of his conceptual model, (3) simplicity, (4) precision of language, (5) accuracy of the probability assignment."

"The term architecture is used here to describe the attributes of a system as seen by the programmer, i.e., the conceptual structure and functional behavior, as distinct from the organization of the data flow and controls, the logical design, and the physical implementation. i. Additional details concerning the architecture,"

"We realize, however, that all scientific laws merely represent abstractions and idealizations expressing certain aspects of reality. Every science means a schematized picture of reality, in the sense that a certain conceptual construct is unequivocally related to certain features of order in reality;"

"It is a confusion to present the items of one sort in the idioms of another -- without awareness. For to do this is not just to cross two different sorts; it is to confuse them. It is to mistake, for example, the theory for the fact, the for the , the myth for history, the model for the thing and the metaphor for the face of literal truth."

"A conceptual model is neither idle nor faithful: it is, or rather it is supposed to be and so taken until further notice, an approximate representation of a real thing."

"The programmer, like the poet, works only slightly removed from pure thought-stuff. He builds his castles in the air, from air, creating by exertion of the imagination. Few media of creation are so flexible, so easy to polish and rework, so readily capable of realizing grand conceptual structures.... Yet the program construct, unlike the poet's words, is real in the sense that it moves and works, producing visible outputs separate from the construct itself. […] The magic of myth and legend has come true in our time. One types the correct incantation on a keyboard, and a display screen comes to life, showing things that never were nor could be."

"The term "paradigm," from the Greek paradeigma ("pattern"), was used by Kuhn to denote a conceptual framework shared by a community of scientists and providing them with model problems and solutions"

"Ludwig von Bertalanffy, a distinguished biologist, occupies an important position in the intellectual history of the twentieth century. His contributions went beyond biology, and extended to psychology, psychiatry, sociology, cybernetics, history and philosophy. Some of his admirers even believe that von Bertalanffy's general systems theory could provide a conceptual framework for all these disciplines."

"I strongly reject any conceptual scheme that places our options on a line, and holds that the only alternative to a pair of extreme positions lies somewhere between them. More fruitful perspectives often require that we step off the line to a site outside the dichotomy."

"A conceptual model is a qualitative description of the system and includes the processes taking place in the system, the parameters chosen to describe the processes, and the spatial and temporal scales of the processes."

"A conceptual model is a collection of concepts that together form a 'web of meaning'"

"The design of a conceptual model is not a simple, straightforward procedure, and it is certainly not objective!"

"A conceptual model is a model of the projected system that is independent of implementation details"

"The second problem [with using UML for the purposes of this book] is that the Unified Modeling Language concentrates on implementation modeling rather than conceptual modeling."

"A conceptual model is what in the model theory is called a set of formulas making statements about the world."

"A conceptual model is a representation of the system expertise using this formalism. An internal model is derived from the conceptual model and from a specification of the system transactions and the performance constraints."

"Truly grand and powerful theories […] do not and cannot rest upon single observations. Evolution is an inference from thousands of independent sources, the only conceptual structure that can make unified sense of all this disparate information. The failure of a particular claim usually records a local error, not the bankruptcy of a central theory. […] If I mistakenly identify your father's brother as your own dad, you don't become genealogically rootless and created de novo. You still have a father; we just haven't located him properly."

"When we entrust the domain of values to those whose intellectual concerns are essentially centred on empirical facts, and whose conceptual frameworks are inevitably constructed around sets of empirical facts, we need not be surprised if the result is moral confusion."

"The purpose of a conceptual model is to provide a vocabulary of terms and concepts that can be used to describe problems and/or solutions of design. It is not the purpose of a model to address specific problems, and even less to propose solutions for them. Drawing an analogy with linguistics, a conceptual model is analogous to a language, while design patterns are analogous to rhetorical figures, which are predefined templates of language usages, suited particularly to specific problems."

"Sometimes, however, a conceptual model is only a first step, and the second step is a mathematical representation of the conceptual model"

"What surprised me, which Google was part of, is that superficial search techniques over large bodies of stuff could get you what you wanted. I grew up in the AI tradition, where you have a complete conceptual model, and the information retrieval tradition, where you have complex vectors of key terms and Boolean queries. The idea that you can index billions of pages and look for a word and get what you want is quite a trick. To put it in more abstract terms, it's the power of using simple techniques over very large numbers versus doing carefully constructed systematic analysis."

"A conceptual model is one which reflects reality by placing words which are concepts into the model in the same way that the model aeroplane builder puts wings, a fuselage, and a cockpit together."

"A conceptual level view of an object design describes the key abstractions. While someone might think of key abstractions as being nothing more or nothing less than high-level descriptions of "candidate classes", I prefer to consider a conceptual design from a slightly different angle--I'm thinking about design at a slightly different level. An object-oriented application is a set of interacting objects. Each object is an implementation of one or more roles. A role supports a set of related (cohesive) responsibilities. A responsibility is an obligation to perform a task or know certain information. And objects don't work in isolation, they collaborate with others in a community to perform the overall responsibilities of the application. So a conceptual view, at least to start, is a distillation of the key object roles and their responsibilities (stated at a fairly high level). More than likely (unless you form classification hierarchies and use inheritance and composition techniques) many candidates you initially model will map directly to a single class in some inheritance hierarchy. But I like to open up possibilities by think first of roles and responsibilities, and then as a second step towards a specification-level view, mapping these candidates to classes and interfaces."

"A conceptual model is simply a framework or schematic to understand the interaction of workforce education and development systems with other variables in a society."

"The conceptual model is a non-software specific description of the simulation model that is to be developed, describing the objectives, inputs, outputs, content, assumptions and simplifications of the model."

"A conceptual model is a mental image of a system, its components, its interactions. It lays the foundation for more elaborate models, such as physical or numerical models. A conceptual model provides a framework in which to think about the workings of a system or about problem solving in general. An ensuing operational model can be no better than its underlying conceptualization."

"Within sociology there have been several system theories, differing from one another in the extent to which, for example, human agency, creativity, and entrepreneurship are assumed to play a role in system formation and reformation; conflict and struggle are taken into account; power and stratification are part and parcel of the theory; structural change and transformation – and more generally, historically developments – are taken into account and explained. What the various system theories have in common is a systematic concern with complex and varied interconnections and interdependencies of social life. Complexity has been a central concept for many working in the systems perspective. The tradition is characterized to a great extent by a burning ambition and hope to provide a unifying language and conceptual framework for all the social sciences."

"The role of conceptual modelling in information systems development during all these decades is seen as an approach for capturing fuzzy, ill-defined, informal "real-world" descriptions and user requirements, and then transforming them to formal, in some sense complete, and consistent conceptual specifications."

"Like a physical model, a conceptual model is an artificial system. It is however, made up of conceptual, and not physical components."

"The first function of a conceptual model is relating the research to the existing body of literature. With the help of a conceptual model a researcher can indicate in what way he is looking at the phenomenon of his research."

"A conceptual model is a qualitative description of 'some aspect of the behaviour of a natural system'. This description is usually verbal, but may also be accompanied by figures and graphs."

"a conceptual model is a diagram connecting variables and constructs based on theory and logic that displays the hypotheses to be tested."

"Simply put, a conceptual model is a simplified representation of reality, devised for a certain purpose and seen from a certain point of view"

"Conceptual models are core to good design."

"Conceptual models are best thought of as design-tools — a way for designers to straighten out and simplify the design and match it to the users' task-domain, thereby making it clearer to users how they should think about the application."

"As human inventions and social interactions grow more complex, general conceptual frameworks that integrate knowledge among different disciplines studying those emerging systems grow more important."

"The classic example of an is that of plane geometry formulated by Euclid... It forms the model of all rigorous mathematical schemes. The axioms are the initial assumptions... From them, logical deductions can proceed under stipulated rules of reasoning... analogous to the scientists' laws of Nature, whilst the axioms play the role of s. We are not free to pick any axioms... They must be logically consistent... Euclid and most other pre-nineteenth-century mathematicians... were also strongly biased towards picking axioms which mirrored the way the world was observed to work... Later mathematicians did not feel so encumbered and have required only consistency from their lists of axioms."

"Each of five men—Lobachewsky, Bolyai, Plücker, Riemann, Lie—invented as part of his lifework as much (or more) new geometry as was created by all the Greek mathematicians in the two or three centuries of their greatest activity."

"The chemist smiles at the childish efforts of alchemists but the mathematician finds the geometry of the Greeks and the arithmetic of the Hindoos as useful and admirable as any research of today."

"When the value of mathematical training is called in question, quote the inscription over the entrance into the academy of Plato, the philosopher: "Let no one who is unacquainted with geometry enter here.""

"Students in analytical geometry should know something of Descartes, and, after taking up the differential and integral calculus, they should become familiar with the parts that Newton, Leibniz, and Lagrange played in creating that science."

"The Egyptians carried geometry no further than was absolutely necessary for their practical wants. The Greeks, on the other hand, had within them a strong speculative tendency. They felt a craving to discover the reasons for things. They found pleasure in the contemplation of ideal relations and loved science as science."

"The Eudemian Summary says that "Pythagoras changed the study of geometry into the form of a liberal education, for he examined its principles to the bottom, and investigated its theorems in an immaterial and intellectual manner." His geometry was connected closely with his arithmetic. He was especially fond of those geometrical relations which admitted of arithmetical expression."

"Aristotle (384-322 B.C.), the systematiser of deductive logic, though not a professed mathematician, promoted the science of geometry by improving some of the most difficult definitions. His Physics contains passages with suggestive hints of the principle of virtual velocities. About this time there appeared a work called Mechanica, of which he is regarded by some as the author. Mechanics was totally neglected by the Platonic school."

"When Ptolemy once asked Euclid if geometry could not be mastered by an easier process than by studying the Elements, Euclid returned the answer, "There is no royal road to geometry.""

"It is a remarkable fact in the history of geometry, that the Elements of Euclid, written two thousand years ago, are still regarded by many as the best introduction to the mathematical sciences."

"I would myself say that the purely imaginary objects are the only realities, the ὂντως ὂντα, in regard to which the corresponding physical objects are as the shadows in the cave; and it is only by means of them that we are able to deny the existence of a corresponding physical object; and if there is no conception of straightness, then it is meaningless to deny the conception of a perfectly straight line."

"The discovery of rigid objects in nature is of fundamental importance. Without it, the concept of measurement would probably never have arisen and metrical geometry would have been impossible. ...As for the physical definition of straightness, it could have been arrived at in a number of ways, either by stretching a rope between two points or by appealing to the properties of these rigid bodies themselves. ...Equipped in this way, the first geometricians (those who built the pyramids, for instance) were able to execute measurements on the earth's surface and later to study the geometry of solids, or space-geometry. Thanks to their crude measurements, they were in all probability led to establish in an approximate empirical way a number of propositions whose correctness it was reserved for the Greek geometers to demonstrate with mathematical accuracy. Thus there is not the slightest doubt that geometry in its origin was essentially an empirical and physical science, since it reduced to a study of the possible dispositions of objects (recognised as rigid) with respect to one another and to parts of the earth. ... Now an empirical science is necessarily approximate, and geometry as we know it to-day is an exact science. It professes to teach us that the sum of the three angles of a Euclidean triangle is equal to 180°, and not a fraction more or a fraction less. Obviously no empirical determination could ever lay claim to such absolute certitude. Accordingly, geometry had to be subjected to a profound transformation, and this was accomplished by the Greek mathematicians Thales, Democritus, Pythagoras, and finally Euclid. ... But this empirical origin of Euclid's geometrical axioms and postulates was lost sight of, indeed was never even realised. As a result, Euclidean geometry was thought to derive its validity from certain self-evident universal truths; it appeared as the only type of consistent geometry of which the mind could conceive. Gauss had certain misgivings on the matter, but... the honor of discovering non-Euclidean geometry fell to Lobatchewski and Bolyai."

"To-day, thanks to Einstein, we have definite reasons for believing that ultra-precise observation of nature has revealed our natural geometry arrived at with solids and light rays to be slightly non-Euclidean and to vary from place to place. So although the non-Euclidean geometers never suspected it (with the exception of Gauss, Riemann and Clifford), our real world happens to be one of the dream-worlds whose possible existence their mathematical genius forsaw."

"A more thorough study of Euclid's axioms and postulates proved them to be inadequate for the deduction of Euclid's geometry. ...Hilbert and others succeeded in filling the gap by stating explicitly a complete system of postulates for Euclidean and non-Euclidean geometries alike. Among the postulates missing in Euclid's list was the celebrated postulate of Archimedes, according to which, by placing an indefinite number of equal lengths end to end along a line, we should eventually pass any point arbitrarily selected on the line. Hilbert, by denying this postulate, just as Lobatchewski and Riemann had denied Euclid's parallel postulate, succeeded in constructing a new geometry known as non-Archimedean. It was perfectly consistent but much stranger than the classical non-Euclidean varieties. Likewise, it was proved possible to posit a system of postulates which would yield Euclidean or non-Euclidean geometries of any number of dimensions; hence, so far as rational requirements of the mind were concerned, there was no reason to limit geometry to three dimensions."

"[T]he ratios between straight and curved lines are not known, and I believe cannot be discovered by human minds, and therefore no conclusion based upon such ratios can be accepted as rigorous and exact."

"Although there is no study which presents so simple a beginning as that of geometry, there is none in which difficulties grow more rapidly as we proceed, and what may appear at first rather paradoxical, the more acute the student the more serious will the impediments in the way of his progress appear. This necessarily follows in a science which consists of reasoning from the very commencement, for it is evident that every student will feel a claim to have his objections answered, not by authority, but by argument, and that the intelligent student will perceive more readily than another the force of an objection and the obscurity arising from an unexplained difficulty, as the greater is the ordinary light the more will occasional darkness be felt. To remove some of these difficulties is the principal object of this Treatise."

"Since geometry is the right foundation of all painting, I have decided to teach its rudiments and principles to all youngsters eager for art."

"[T]he system of concepts of axiomatic geometry alone cannot make any assertions as to the behavior of... practically-rigid bodies. To be able to make such assertions, geometry must be stripped of its merely logical-formal character by the coordination of real objects of experience with the empty conceptual schemata of axiomatic geometry. To accomplish this, we need only add the proposition: solid bodies are related, with respect to their proper dispositions, as are bodies in Euclidean geometry of three dimensions. Then the propositions of Euclid contain affirmations as to the behavior of practically-rigid bodies. Geometry thus completed is evidently a natural science; we may in fact regard it as the most ancient branch of physics. Its affirmations rest essentially on induction from experience... not on logical inferences only. We will call this completed geometry "practical geometry," and shall distinguish it from "purely axiomatic geometry.""

"One is ordinarily accustomed to study geometry divorced from any relation between its concepts and experience. There are advantages in isolating that which is purely logical and independent of what is, in principle, incomplete empiricism. ... for our purpose it is necessary to associate the fundamental concepts of geometry with natural objects; without such an association geometry is worthless for the physicist. The physicist is concerned with the question as to whether the theorems of geometry are true or not."

"And the whole [is] greater than the part."

"There is no royal road to geometry."

"The contemporary decline in interest in geometry and its gradual disappearance from school curricula... should be deplored... Geometry is the most visual of the mathematical disciplines. It is not in principle divorced from numbers, and hence neither is it divorced from algebra. Many a pupil's understanding of algebraic proofs would be considerably reinforced by... visual geometrical proofs which were the hallmark of Greek mathematics and to some extent of Arab mathematics also. ...where a geometrical proof is clear and immediate, as... with... many algebraic identities such as (a \pm b)^2 = a^2 \pm 2ab + b^2\!, the geometry should not be forgotten. The Greeks were some of the greatest teachers of all time... [and] geometric algebra was in many ways [their] greatest achievement ..."

"The geometrical spirit is not so tied to geometry that it cannot be detached from it and transported to other branches of knowledge. A work of morals or politics or criticism, perhaps even of eloquence, would be better (other things being equal) if it were done in the style of a geometer. The order, clarity, precision and exactitude which have been apparent in good books for some time might well have their source in this geometric spirit. ...Sometimes one great man gives the tone to a whole century; Descartes], to whom one might legitimately be accorded the glory of having established a new art of reasoning, was an excellent geometer."

"The way I have taken seems not to lead to the goal, but much rather to make the truth of geometry doubtful."

"Geometry can in no way be viewed... as a branch of mathematics, instead, geometry relates to something already given in nature, namely, space. I... realized that there must be a branch of mathematics which yields in a purely abstract way laws similar to those of geometry."

"I was informed by the priests at Thebes, that king Sesostris made a distribution of the territory of Egypt among all his subjects, assigning to each an equal portion of land in the form of a quadrangle, and that from these allotments he used to derive his revenue by exacting every year a certain tax. In cases however where a part of the land was washed away by the annual inundations of the Nile, the proprietor was permitted to present himself before the king, and signify what had happened. The king then used to send proper officers to examine and ascertain, by admeasurement, how much of the land had been washed away, in order that the amount of tax to be paid for the future, might be proportional to the land which remained. From this circumstance I am of opinion, that Geometry derived its origin; and from hence it was transmitted into Greece."

"The authors on may be divided into... theoretical and practical... [N]one... have combined the theory with the practice... to render the subject plain and intelligible... [T]he most valuable and scientifical are... abstruse, and the practical scarcely furnish... the rationale... The object of the ensuing treatise is to simplify the theory, yet to retain a methodical and accurate... investigation, and to exemplify this theory by... important... useful examples. ...[D]emonstrations are frequently founded on principles strictly Geometrical ...and sometimes ...by algebraical signs, particularly where the Geometrical ...would require a complicated figure, or a ...tedious process. ...[T]he algebraical mode of deduction tends greatly to simplify... yet... definitions and... elementary parts... must be acquired from Geometrical principles illustrated by diagrams; otherwise a student will never obtain a clear and satisfactory knowledge... Should any person attempt to teach the elementary principles of the science by... algebraic characters, and algebraic formulae alone, without the aid of Geometry, he would... deceive both himself and his pupils."

"Geometry has two great treasures: one is the Theorem of Phythagoras, the other the division of a line in extreme and mean ratio. The first we can compare to a mass of gold; the other we may call a precious jewel."

"Geometry enlightens the intellect and sets one's mind right."

"Historically, it was Euclidean geometry that, developed to a large extent as a votive offering to the God of Reason, opened men's eyes to the possibility of design and to the possibility of uncovering it by the pursuit of mathematics."

"The use of canon raised numerous questions concerning the paths of projectiles. ...One might determine... what type of curve a projectile follows and.... prove some geometrical facts about this curve, but geometry could never answer such questions as how high the projectile would go or how far from the starting point it would land. The seventeenth century sought the quantitative or numerical information needed for practical applications, and such information is provided by algebra."

"Descartes... complained that Greek geometry was so much tied to figures "that is can exercise the understanding only on condition of greatly fatiguing the imagination." Descartes also deplored that the methods of Euclidean geometry were exceedingly diverse and specialized and did not allow for general applicability. Each theorem required a new kind of proof... What impressed Descartes especially was that algebra enables man to reason efficiently. It mechanizes thought, and hence produces almost automatically results that may otherwise be difficult to establish. ...historically it was Descartes who clearly perceived and called attention to this feature. Whereas geometry contained the truth about the universe, algebra offered the science of method. It is... paradoxical that great thinkers should be enamored with ideas that mechanize thought. Of course, their goal is to get at more difficult problems, as indeed they do."

"Over and above the specific theorems created by men such as Desargues, Pascal and La Hire, several new ideas and outlooks were beginning to appear. The first is the idea of continuous change of a mathematical entity from one state to another... [i.e., of a] a geometrical figure. It was Kepler, in his Astronomiae Optica of 1604, who first seemed to grasp the fact that parabola, ellipse, hyperbola, circle, and the degenerate conic consisting of a pair of lines are continuously derivable from each other. ...The notion of a continuous change in a figure was also employed by Pascal. He allowed two consecutive vertices of his hexagon to approach each other so that the figure became a pentagon. In the same manner he passed from pentagons to quadrilaterals. The second idea to emerge from the work of the projective geometers is that of transformation and invariance. To project a figure from some point and then take a section of that projection is to transform the figure to a new one. The properties... of interest are those that remain invariant under transformation. Other geometers of the seventeenth century, for example, Gregory of St. Vincent... and Newton, introduced transformations other than projection and section."

"A geometrician has learned to perform the most difficult demonstrations and calculations, as a monkey has learned to take his little hat off and on... All has been accomplished through signs, every species has learned what it could understand, and in this way men have acquired symbolic knowledge..."

"He said that the geometry of the dream-place he saw was abnormal, non-Euclidean, and loathsomely redolent of spheres and dimensions apart from ours."

"I claim that many patterns of Nature are so irregular and fragmented, that, compared with Euclid — a term used in this work to denote all of standard geometry — Nature exhibits not simply a higher degree but an altogether different level of complexity … The existence of these patterns challenges us to study these forms that Euclid leaves aside as being "formless," to investigate the morphology of the "amorphous.""

"I conceived, developed and applied in many areas a new geometry of nature, which finds order in chaotic shapes and processes. It grew without a name until 1975, when I coined a new word to denote it, fractal geometry, from the Latin word for irregular and broken up, fractus. Today you might say that, until fractal geometry became organized, my life had followed a fractal orbit."

"If the Greeks had had a mind to reduce mathematics to one field... their only choice would have been to reduce arithmetic to geometry... it is hardly surprising that for nearly two millennia geometry took pride of place in mathematics. And it would have been obvious to any mathematician that a geometrical problem could not be stated or solved in the language of numbers, since the geometrical universe had more structure than the numerical universe. If one desired to translate geometrical problems into the language of numbers, one would have to invent (or discover) more numbers."

"Let us calculate the motion of bodies, but also consult the plans of the Intelligence that makes them move. It seems that the ancient philosophers made the first attempts at this sort of science, in looking for metaphysical relationships between numbers and material bodies. When they said that God occupies himself with geometry, they surely meant that He unites in that science the works of His power with the perspectives of His wisdom. From the all too few ancient geometers who undertook such studies, we have little that is intelligible or well-founded. The perfection which geometry has acquired since their time puts us in a better position to succeed, and may more than compensate for the advantages that those great minds had over us."

"O king, through the country there are royal roads and roads for common citizens, but in geometry there is one road for all."

"The doctrine of Proportion, in the Fifth Book of Euclid's Elements, is obscure, and unintelligible to most readers. It is not taught either in foreign or American colleges, and is now become obsolete. It has therefore been omitted in this edition of Euclid's Elements, and a different method of treating Proportion has been substituted for it. This is the common algebraical method, which is concise, simple, and perspicuous; and is sufficient for all useful purposes in practical mathematics. The method is clear and intelligible to all persons who know the first principles of algebra. The rudiments of algebra ought to be taught before geometry, because algebra may be applied to geometry in certain cases, and facilitates the study of it."

"Geometry is almost the only subject as to which we find truths wherein all men agree; and one cause of this is, that geometers alone regard the true laws of demonstration."

"At a very early period the study of Geometry was regarded as a very important mental discipline, as may be shewn from the seventh book of the Republic of Plato. To his testimony may be added that of the celebrated Pascal (Œuvres, Tom. I. p. 66,) which Mr. Hallam has quoted in his History of the Literature of the Middle Ages. "Geometry," Pascal observes, "is almost the only subject as to which we find truths wherein all men agree; and one cause of this is, that geometers alone regard the true laws of demonstration." These are enumerated by him as eight in number. 1. To define nothing which cannot be expressed in clearer terms than those in which it is already expressed. 2. To leave no obscure or equivocal terms undefined. 3. To employ in the definition no terms not already known. 4. To omit nothing in the principles from which we argue, unless we are sure it is granted 5. To lay down no axiom which is not perfectly evident. 6. To demonstrate nothing which is as clear already as we can make it. 7. To prove every thing in the least doubtful, by means of self-evident axioms, or of propositions already demonstrated. 8. To substitute mentally the definition instead of the thing defined. Of these rules he says, "the first, fourth, and sixth are not absolutely necessary to avoid error, but the other five are indispensable; and though they may be found in books of logic, none but the geometers have paid any regard to them."

"Various relations being established in geometry between lines constituted under given conditions, as parts of geometrical figures, if we choose to adopt the idea of expressing these lines by numerical measures, we are then brought to the distinction of such lines being in some cases commensurable in their numerical values, in others not so. Their geometrical relations however are absolutely general, and do not refer to any such distinction."

"All those who have written histories [of geometry] bring to this point their account of the development of this science. Not long after these men [pupils of Plato] came Euclid… Not much younger than these [pupils of Plato] is Euclid, who put together the Elements ,…bringing to irrefragable demonstration the things which had been only loosely proved by his predecessors. This man [must have] lived in the time of the first Ptolemy; for Archimedes, who followed closely the first [Ptolemy? book?] makes mention of Euclid, and further they say that Ptolemy once asked him if there were a shorter way to study geometry…to which he replied that there was no royal road to geometry. He is therefore younger than Plato’s circle, but older than Eratosthenes and Archimedes; for these were contemporaries, as Eratosthenes somewhere says."

"It is remarkable that this generalization of plane geometry to surface geometry is identical with that generalization of geometry which originated from the analysis of the axiom of parallels. ...the construction of non-Euclidean geometries could have been equally well based upon the elimination of other axioms. It was perhaps due to an intuitive feeling for theoretical fruitfulness that the criticism always centered around the axiom of parallels. For in this way the axiomatic basis was created for that extension of geometry in which the metric appears as an independent variable. Once the significance of the metric as the characteristic feature of the plane has been recognized from the viewpoint of Gauss' plane theory, it is easy to point out, conversely, its connection with the axiom of parallels. The property of the straight line as being the shortest connection between two points can be transferred to curved surfaces, and leads to the concept of straightest line; on the surface of the sphere the great circles play the role of the shortest line of connection... analogous to that of the straight line on the plane. Yet while the great circles as "straight lines" share the most important property with those of the plane, they are distinct from the latter with respect to the axiom of the parallels: all great circles of the sphere intersect and therefore there are no parallels among these "straight lines". ...If this idea is carried through, and all axioms are formulated on the understanding that by "straight lines" are meant the great circles of the sphere and by "plane" is meant the surface of the sphere, it turns out that this system of elements satisfies the system of axioms within two dimensions which is nearly identical in all of it statements with the axiomatic system of Euclidean geometry; the only exception is the formulation of the axiom of the parallels. The geometry of the spherical surface can be viewed as the realization of a two-dimensional non-Euclidean geometry: the denial of the axiom of the parallels singles out that generalization of geometry which occurs in the transition from the plane to the curve surface."

"Visual forms are not perceived differently from colors or brightness. They are sense qualities, and the visual character of geometry consists in these sense qualities."

"The influence of geometry upon philosophy and scientific method has been profound. Geometry, as established by the Greeks, starts with axioms which are (or are deemed to be) self-evident, and proceeds, by deductive reasoning, to arrive at theorems which are very far from self-evident. The axioms and theorems are held to be true of actual space, which is something given in experience. It thus appeared to be possible to discover things about the actual world by first noticing what is self-evident and then using deduction. This view influenced Plato and Kant, and most of the intermediate philosophers... The eighteenth century doctrine of natural rights is a search for Euclidean axioms in politics. The form of Newton's Principia, in spite of its admittedly empirical material, is entirely dominated by Euclid. Theology, in its exact scholastic forms, takes its style from the same source."

"The Greeks... discovered mathematics and the art of deductive reasoning. Geometry, in particular, is a Greek invention, without which modern science would have been impossible."

"[…] nor did he [Thibaut] formulate the obvious conclusion, namely, that the Greeks were not the inventors of plane geometry, rather it was the Indians. At least this was the message that the Greek scholars saw in Thibaut’s paper. And they didn’t like it... If the Indians invented plane geometry, what was to become of Greek ‘genius’ or of the Greek ‘miracle’?"

".. general relativity is, of course, based on , which is one of the richest frameworks for our understanding of ordinary geometry. ... Many ambitious physicists and mathematicians have gone off into the in search of some fundamental generalization of geometry that would reconcile gravity with quantum mechanics but, generally speaking, they have come back empty-handed — if at all."

"Wars of nations are fought to change maps. But wars of poverty are fought to map change."

"The map is not the territory, and the name is not the thing named."

"Let's not pretend that mental phenomena can be mapped on to the characteristics of billiard balls."

"There are no maps to lead us where we are going, to this new world of our own making. As the world looks back to nine decades of war, of strife, of suspicion, let us also look forward—to a new century, and a new millennium, of peace, freedom and prosperity."

"In fact, it is Shakespeare who gives us the map of the mind. It is Shakespeare who invents Freudian Psychology. Freud finds ways of translating it into supposedly analytical vocabulary."

"“It does not appear to be too difficult,” Alain agreed. “But I remember being cautioned that maps carry their own illusions, often making appear simple a journey which is actually far more difficult in practice.”"

"History is not everything, but it is a starting point. History is a clock that people use to tell their political and cultural time of day. It is a compass they use to find themselves on the map of human geography. It tells them where they are but, more importantly, what they must be."

"A face is a road map of someone's life. Without any need to amplify that or draw attention to it, there's a great deal that's communicated about who this person is and what their life experiences have been."

"This seems highly likely, especially as it has been shown that in several systems mutations affecting the same amino acid are extremely near together on the genetic map."

"We may think of maps and mapping as an objective process, but that would be an illusion. What gets mapped, and more importantly, what does not, is a product of various social, economic, and political phenomena. Quite apart from border disputes and contentious sovereignty, mapping also reflects political priorities. Creating the survey data that can be used in maps is expensive, and large-scale mapping endeavors are typically the preserve of states, whose ability to deliver that data often depends on resources that compete with other governmental priorities. This is true especially in resource-constrained settings."

"In generalizing lies the difficulty of scientific map-making, for it no longer allows the cartographer to rely merely on objective facts but requires him to interpret them subjectively. To be sure the selection of the subject matter is controlled by considerations regarding its suitability and value, but the manner in which this material is to be rendered graphically depends on personal and subjective feeling. But the latter must not predominate: the dictates of science will prevent any erratic flight of the imagination and impart to the map a fundamentally objective character in spite of all subjective impulses. It is in this respect that maps are distinguished from fine products of art. Generalized maps and, in fact, all abstract maps should, therefore, be products of art clarified by science."

"We invented a nonexistent Plan, and They not only believed it was real but convinced themselves that They had been part of it for ages, or rather They identified the fragments of their muddled mythology as moments of our Plan, moments joined in a logical, irrefutable web of analogy, semblance, suspicion. But if you invent a plan and others carry it out, it's as if the Plan exists. At that point it does exist. Hereafter, hordes of Diabolicals will swarm through the world in search of the map. We offered a map to people who were trying to overcome a deep private frustration. What frustration? Belbo's first file suggested it to me: There can be no failure if there really is a Plan. Defeated you may be, but never through any fault of your own. To bow to a cosmic will is no shame. You are not a coward; you are a martyr."

"A map is not the territory. - Alfred Korzybski"

"You fall in love with somebody who fits within what I call your 'love map,' an unconscious list of traits that you build in childhood as you grow up. And I also think that you gravitate to certain people, actually, with somewhat complementary brain systems."

"The three basic mechanisms of averaging, feedback and division of labor give us a first idea of a how a CMM [Collective Mental Map] can be developed in the most efficient way, that is, how a given number of individuals can achieve a maximum of collective problem-solving competence. A collective mental map is developed basically by superposing a number of individual mental maps. There must be sufficient diversity among these individual maps to cover an as large as possible domain, yet sufficient redundancy so that the overlap between maps is large enough to make the resulting graph fully connected, and so that each preference in the map is the superposition of a number of individual preferences that is large enough to cancel out individual fluctuations. The best way to quickly expand and improve the map and fill in gaps is to use a positive feedback that encourages individuals to use high preference paths discovered by others, yet is not so strong that it discourages the exploration of new paths."

"Now, to use the famous metaphor by Alfred Korzybski in his Science and Sanity (1933), this verbal world ought to stand in relation to the extensional world as a map does to the territory it is supposed to represent. If a child grows to adulthood with a verbal world in his head which corresponds fairly closely to the extensional world that he finds around him in his widening experience, he is in relatively small danger of being shocked or hurt by what he finds, because his verbal world has told him what, more or less, to expect. He is prepared for life. If, however, he grows up with a false map in his head [...] he will constantly be running into trouble, wasting his efforts, and acting like a fool. He will not be adjusted to the world as it is: he may, if the lack of adjustment is serious, end up in a mental hospital. (editor's link)"

"Heinz performs the magic trick of convincing us that the familiar objects of our existence can be seen to be nothing more than tokens for the behaviors of the organism that apparently create stable forms. These stabilities persist, for that organism, as an observing system. This is not to deny an underlying reality that is the source of objects, but rather to emphasize the role of process, and the role of the organism in the production of a living map, a map that is so sensitive that map and territory are conjoined."

"The map is not the territory … The only usefulness of a map depends on similarity of structure between the empirical world and the map."

"Two important characteristics of maps should be noticed. A map is not the territory it represents, but, if correct, it has a similar structure to the territory, which accounts for its usefulness."

"Man always kills the thing he loves, and so we the pioneers have killed our wilderness. Some say we had to. Be that as it may, I am glad I shall never be young without wild country to be young in. Of what avail are forty freedoms without a blank spot on the map?"

"The representational nature of maps, however, is often ignored – what we see when looking at a map is not the word, but an abstract representation that we find convenient to use in place of the world. When we build these abstract representations we are not revealing knowledge as much as are creating it."

"Understanding how maps work and why maps work (or do not work) as representations in their own right and as prompts to further representations, and what it means for a map to work, are critical issues as we embark on a visual information age."

"The fact that map is a fuzzy and radial, rather than a precisely defined, category is important because what a viewer interprets a display to be will influence her expectations about the display and how she interacts with it."

"Ideas, unlike solid structures, do not perish. They remain immortal, immaterial and everywhere, like all Divine things. Ideas are a golden, savage landscape that we wander unaware, without a map. Be careful: in the last analysis, reality may be exactly what we think it is."

"Many technologies for mapping and viewing are closely connected to the growth of surveillance in contemporary society and the power of defining who sees and who is seen (Parenti 2003, pp. 3, 9; Dodge & Perkins 2009). The use of surveillance technologies to examine the past does not exclude the present: When satellite imagery is used to search for archaeological sites and their spatial relationships to landforms, images of contemporary settlements and land use are also part of the picture. This intrusion into people’s lives takes place without consent, informed or otherwise."

"No map contains all the information about the territory it represents. The road map we get at the gasoline station may show all the roads in the state, but it will not as a rule show latitude and longitude. A physical map goes into details about the topography of a country but is indifferent to political boundaries. Furthermore, the scale of the map makes a big difference. The smaller the scale the less features will be shown."

"A fundamental value in the scientific outlook is concern with the best available map of reality. The scientist will always seek a description of events which enables him to predict most by assuming least. He thus already prefers a particular form of behavior. If moralities are systems of preferences, here is at least one point at which science cannot be said to be completely without preferences. Science prefers good maps."

"There are few results of man‟s activities that so closely parallel man's interests and intellectual capabilities as the map."

"If we then make the obvious assumption that the content of a map is appropriate to its purpose, there yet remains the equally significant evaluation of the visual methods employed to convey that content."

"Where, after all, do universal human rights begin? In small places, close to home—so close and so small that they cannot be seen on any map of the world."

"As you make your way along life's tumultuous highways, it's important to note that you should always carry a map, have plenty of fuel in the tank, and take frequent rest stops."

"You can't physically touch software. You can hold a floppy disk or CD-ROM in your hand, but the software itself is a ghost that can be moved from one object to another with little difficulty. In contrast, a road is a solid object that has a definite size and shape. You can touch the material and walk the route... Software is a codification of a huge set of behaviors: if this occurs, then that should happen, and so on. We can visualize individual behaviors, but we have great difficulty visualizing large numbers of sequential and alternative behaviors... The same things that make it hard to visualize software make it hard to draw blueprints of that software. A road plan can show the exact location, elevation, and dimensions of any part of the structure. The map corresponds to the structure, but it's not the same as the structure. Software, on the other hand, is just a codification of the behaviors that the programmers and users want to take place. The map is the same as the structure... This means that software can only be described accurately at the level of individual instructions... A map or a blueprint for a piece of software must greatly simplify the representation in order to be comprehensible. But by doing so, it becomes inaccurate and ultimately incorrect. This is an important realization: any architecture, design, or diagram we create for software is essentially inadequate. If we represent every detail, then we're merely duplicating the software in another form, and we're wasting our time and effort."

"There's no road map on how to raise a family: it's always an enormous negotiation."

"Pierre Bourdieu, a French sociologist, observed that elites in a society typically maintain their power not simply by controlling the means of production (ie money), but by dominating the cultural discourse too (ie a society’s intellectual map). And what is most important in relation to that cognitive map is not what is overtly stated and discussed – but what is left unstated, or ignored."

"Believable fairy-stories must be intensely practical. You must have a map, no matter how rough. Otherwise you wander all over the place. In The Lord of the Rings I never made anyone go farther than he could on a given day"

"Israel, as the Jewish state, must disappear from the map. The so called peace-path is not peace and it is not a substitute for jihad and resistance."

"In other words, all of my books are lies. They are simply maps of a territory, shadows of a reality, gray symbols dragging their bellies across the dead page, suffocated signs full of muffled sound and faded glory, signifying absolutely nothing. And it is the nothing, the Mystery, the Emptiness alone that needs to be realized: not known but felt, not thought but breathed, not an object but an atmosphere, not a lesson but a life."

"I compare a lot of life to looking at a map through a straw. The less ability you have to see life in a humorous way, the smaller the straw is that you're looking at the map of life. You're not looking at the whole picture. You can't see the whole topography without it, and it can help you to make better choices."

"What often happens if you study this integral map is that it begins to make room in your psyche, in your being, in your soul, for all the parts of you that were disowned, whether by society, your parents, your peers, whomever. An integral approach even makes room for those who did the disowning to you."

"Beloved is man, for he was created in the image of God."

"His own image; no longer a dark, gray bird, ugly and disagreeable to look at, but a graceful and beautiful swan. To be born in a duck's nest, in a farmyard, is of no consequence to a bird, if it is hatched from a swan's egg."

"Iconic presence is presence in and as a picture. The physical presence of a picture in our world refers to the symbolic presence which it depicts. Similar to body and voice – and different from writing – the picture involves a representation which produces an impression of presence. This presence occupies an absence that is filled with a picture. In the iconic presence, absence is marked. Without denying the absence of what they represent, pictures offer absence as presence. The mask is just such a picture. It creates iconic presence by placing another face on the body. In the case of a dead person it restores the missing face. In the case of an actor, the face itself turns into a mask, and thus conveys a picture. If “iconic difference”(Boehm 1994, 29ff.) is a hermeneutic concern, iconic presence is an anthropological issue. In the context of religion, pictures represent deities who have no direct presence in the physical world; these deities are not held to be absent (let alone non-existent), but in need of a picture in order to become visible. In primal religions, living bodies transform into apparitions through dance and voice. In the Christian tradition, visual artefacts behaved as living bodies that wept, worked miracles, and were carried through “their” town, as if they could walk by themselves"

"Akin to the monuments of fallen despots in more recent times, religious pictures fell victim to iconoclasms directed against false or misused images (i.e. idols). In Judaism and Islam, the ban on images pertained only to their religious use and was directed against the visual practices of other populations; in Judaism against an older pictorial tradition (Uehlinger 2003) and in Islam against the use of images in Christian churches (Fowden 2014). In the context of Christianity the use of images was central to the project of becoming a world religion and of eschewing its Jewish legacy. The “true” portrait of Christ, a late phenomenon after the Council of Chalcedon (451), possessed a special evidence that was appropriated by competing theological schools in divergent ways. Pictures were then upgraded as originals. Iconic presence began to compete with the word in textual revelation. Already the notion of the Mother of God (Theotokos) at the Council of Ephesus (431) enhanced the doctrine of the two natures of Christ in one human face. Islamic theology returned to the verbal revelation of God. The Qur’an has been introduced as a book which God has sent to his prophet. With the Islamic rejection of Jesus as the son of God, the visibility of God became taboo once more. Aniconism is a picture theory under reverse conditions and usually reflects a negative experience with pictures. In the Reformation, text and picture competed with one other as different religious media, in a turn again Catholic visual politics. The Counter-Reformation above all used the weapons of a re-catholicized visual politics that transformed the space of the church into a theatre of heaven. The church directed this strategy against the private reading of the bible propagated by the Reformation. In modern secular society, religious pictures lost their old credibility, which also damaged their status as works of art. So even within the same religious tradition pictures were subject to historical change."

"I believe that robotic thinking helps precision of psychological thought, and will continue to help it until psychophysiology is so far advanced that an image is nothing other than a neural event, and object constancy is obviously just something that happens in the brain."

"A picture is a poem without words."

"Even when our death is imminent, we carry the image of ourselves moving forward, alive, into the future."

"While the film Life of Christ was rolling past before my eyes I was mentally visualizing the gods, Shri Krishna, Shri Ramachandra their Gokul and Ayodhya.. I was gripped by a strange spell. I bought another ticket and saw the film again. This time I felt my imagination taking shape in the screen. Could this really happen? Could we the sons of India, ever be able to see Indian images on the screen. The whole night passed in this mental agony."

"Thou shalt not make unto thee any graven image (Hebrew פסל) or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth."

"The young watch television twenty-four hours a day, they don't read and they rarely listen. This incessant bombardment of images has developed a hypertrophied eye condition that's turning them into a race of mutants."

"In our Sunday news. Without morning coffee. On the bus, in the airport, at the checkout line Sharing our day off from work, from school, illicit and delicious with us under the quilt. Or domestic company, our of the corner of the eye as we fold the laundry in front of the television. It may be a 5 A.M. addiction to the glittering promises of the infomercial: the latest in fat-dissolving pills, miracle hair restoration, make-up secrets of the stars. Or a glancing relationship while waiting at the dentist, trying to distract from the impending root canal. Or a luscious, shiny smile, a deliberate splurge, a can’t-wait-to-get-home-with-you devotion. A teen magazine: tips on how to dress, how to wear your hair, how to make him want you. A movie seen at the theater, still large and magical in the dark. The endless commercials and advertisements we believe we pay no attention to. Constant, everywhere, no big deal. Like the water in the goldfish bowl, barely noticed by inhabitants. Or noticed, but dismissed: “Eye Candy”-a harmless indulgence. They go down easily, in and out, digested and forgotten. Hardly able anymore to rouse our indignation. Just pictures."

"“Frontline” asked Alexandra Shulman, editor of British “Vogue”, if the fashion industry felt any responsibility for creating the impossible to-achieve images that young girls measure themselves against. Shulman shrugged. “Not many people have actually said to me that they have looked at my magazine and decided to become anorexic.” Is it possible that Shulman actually believes it works that way?"

"Are we sophisticated enough to recognize that the images are not “real”? Does it matter?"

"What Haworth isn’t saying, too, is that the bar of what we consider “perfection” is constantly being raised-by cultural imagery, by the surgeon’s own recommendations, and by eyes that become habituated to interpreting every deviation as “defect.” Ann, a prospective patient described in the same “Vogue” article, has a well toned body of 105 pounds but is obsessed with what she sees as grotesque fat pockets on her inner thighs. “No matter how skinny I get, they get smaller but never go away,” she complains. It’s unlikely that Ann, whom Haworth considers a perfect candidate for liposuction, will stop there. “Plastic surgery sharpens your eyesight,” admits a more honest surgeon, “You get something done, suddenly you’re looking in the mirror every five minutes-at imperfections nobody else can see.” Where did Ann get the idea that any vestige of fat must be banished from her body? Most likely, it wasn’t from comparing herself to other real women, but to those computer-generated torsos-in ads for anti-cellulite cream and the like-whose hips and thighs and buttocks are smooth and seamless as gently sloping sand-dunes. No actual person has a body like that. But that doesn’t matter-because our expectations, our desires, our judgments about bodies, are becoming dictated by the digital. When was the last time you actually saw a wrinkle-or cellulite-or a drooping jowl-or a pucker or a pocket-in a magazine or video image? Ten years ago Harper’s magazine printed the invoice Esquire had received for retouching a cover picture of Michelle Pfeiffer. The picture was accompanied by copy that read: ”What Michelle Pfeiffer needs … is absolutely nothing.” What Pfeiffer’s picture alone needed to appear on that cover was actually $1,525 worth of chin trimming, complexion cleansing, neck softening, line removal, and other assorted touches."

"Now, in 2003, virtually every celebrity image you see-in the magazines, in the videos, and sometimes even in the movies-has been digitally modified. Virtually every image. Let that sink in. Don’t just let your mind passively receive it. Confront its implications. This is not just a matter of deception-boring old stuff, which ads have traded in from their beginnings. This is perceptual pedagogy, How to Interpret Your Body 101. These images are teaching us how to see. Filtered, smoothed, polished, softened, sharpened, re-arranged. And passing. Digital creations, visual cyborgs, teaching us what to expect from flesh and blood. Training our perception in what's a defect and what is normal. Are we sophisticated enough to know the images are not “real”? Does it matter? There are no disclaimers on the ads: “Warning: This body is generated by a computer. Don’t expect your thighs to look this way.” Would it matter to Ann if there were? Who cares about reality when beauty, love, acceptance beckon? Does sophistication have anything to do with it?"

"Until recently, most clinicians were not receptive to the arguments of feminists like Susie Ohrbach (and later, myself) that “body image disturbance syndrome,” binge/purge cycling, bulimic thinking,” and all the rest needed to be understood as much more culturally normative than generally recognized. They wanted to draw a sharp dividing line between pathology and normality-a line that can be very blurry when it comes to eating and body-image problems in this culture. And while they acknowledged that images “play a role,” they clung to the notion that only girls with a “predisposing vulnerability” get into trouble. Trained in a medical model which seeks the abuse or disorder in individual and family pathology, they hadn’t yet understood just how powerful, ubiquitous, and invasive the demands of culture are on our bodies and souls."

"One of the hardest challenges I faced, in presenting these ideas at conferences and public lectures, was getting medical professionals and academics to take cultural imagery seriously. Most clinicians, unaccustomated to viewing images as anything other than “mere fashion,” saw cultural interpretation as somehow minimizing the seriousness of eating disorders. I insisted-an argument I laid out explicitly in a later book, ‘Twilight Zones”-that images of slenderness are never “just pictures,” as the fashion magazines continually maintain (disingenuously) in their own defense. Not only are the artfully arranged bodies in the ads and videos and fashion spreads powerful lessons in how to see (and evaluate) bodies, but also they offer fantasies of safety, self-containment, acceptance, immunity from pain and hurt. They speak to young people not just about how to be beautiful but about how to become what the dominant culture admires, how to be cool, how to “get it together.” To girls who have been abused they may speak of transcendence or armoring or too-vulnerable female flesh. For racial and ethnic groups whose bodies have been marked as foreign, healthy, and primitive, or considered unattractive by Anglo-Saxon norms, they may cast the lure of assimilation, of becoming (metaphorically speaking) “white.”"

"Still, progressive forces are not entirely asleep in the empire of images. I think of YM teen magazine, for example. After conducting a survey which revealed that 86 percent of its young readers were dissatisfied with the way their bodies looked, YM openly declared war on eating disorders and body-image problems, instituting an editorial policy against the publishing of diet pieces and deliberately seeking out full-size modes-without “marking” them as such-for all its fashion spreads.(27) I like to think this resistance to the hegemony of the fat-free body may have something to do with the fact that the editors are young enough to have studied feminism and cultural studies while they got their B.A.’s in English and journalism. It’s easy, too, to be cynical. Today’s fashionable diversity is brought to us, after all, by the same people who brought us the hegemony of the blue-eyed blonde and who’ve made wrinkles and cellulite into diseases. It’s easy to dismiss fashion’s current love affair with full lips and biracial children as ethnic chic, fetishes of the month. To see it all as a shameless attempt to exploit ethnic niches and white beauty-tourism. Having a child, however, has given me another perspective, as I try to imagine how it looks through her eyes. Cassie knows nothing about the motives of the people who’ve produced the images. At her age, she can only take them at face value. And at face value, they present a world which includes her, celebrates her, as the world that I grew up in did not include and celebrate me. For all my and cynicism and frustration with our empire of images, I cannot help but be grateful for this."

"On good days, I feel heartened by what is happening in the teen magazines and in the Lane Bryant and “Just My Size” ads. Perhaps advertisers are discovering that making people feel bad about themselves, then offering products which promise to make it all better, is not the only way to make a buck. As racial representations have shown, diversity is marketable. Perhaps, as Lane Bryant and others are hoping, encouraging people to feel okay about their bodies can sell products too. Sometimes, surveying the plastic, digitalized world of bodies that are the norm now, I am convinced that our present slate of enchantment is just a moment away from revulsion, or perhaps simply boredom. I see twenty-something woman dancing at a local outdoor swing party, her tummy softly protruding over the thick leather belt of her low-rider jeans. Not taut, not toned, not artfully camoflauged like some unsightly deformity, but proudly, sensuously displayed, reminding me of Madonna in the days before she became the sinewy dominatrix. It is possible that we are beginning to rebel against the manufactured look of celebrity bodies, beginning to be repelled by their armored “perfection”? These hopeful moments, I have to admit, are fleeting. Usually, I feel horrified-and afraid for my daughter. I am sharply aware that expressing this horror openly nowadays is to run the risk of being thought a preachy prude, relic of an outmoded feminism. At talks to young audiences, I try to lighten my touch, celebrate the positive, make sure that my criticisms of our culture are not confused with being anti-beauty, anti-fitness, or anti-sex. But I also know that when parents and teachers become fully one with the culture, children are abandoned to it. I don’t tell them to love their bodies or turn off the television-useless admonitions today, and one I cannot obey myself. But I do try to provide disruption, if only temporary, of their everyday immersion in the culture. For just an hour or so, I won’t let it pass itself off simply as “normalcy.”"

"The lights go down, the slides go up. Much bigger than they appear in the magazines, but also, oddly brought down to size. For just a moment we confront how bizarre, how impossible, how contradictory the images are. We laugh together over Oprah’s head digitally grafted to another woman’s body, at the ad for breast implants in which the boobs stick straight up into the air. We gasp together as the before and after photos of Jennifer Lopez are placed side by side. We cheer for Marion Jones’s shoulders, boo the fact that WNBA Barbie is just the same old Barbie, but with a basketball in her hand. For just a moment, we are in charge of the impact the faked images of “perfect" bodies have on us. We look at them together and share-just for a moment-outrage."

"Susceptibility to “images” can still be conceptualized in terms of a passive subject and a mechanical process. To acknowledge, however, that meaning is continually being produced at all levels-by the culture, by the subject, by the clinician as well-and that in a fundamental sense there “is” no body that exists neutrally, outside this process of making meaning, no body that passively awaits the objective deciphering of trained experts, is to question the presuppositions on which much of modern science is built and around which our highly specialized, professionalized, and compartmentalized culture revolves. Or, to put this another way: it is to suggest that the study of the disordered body is as much the proper province of cultural critics in every field and of nonspecialists, ordinary but critically questioning citizens, as it is o the “experts.” This audacious challenge is the legacy of the feminist reconceptualization of eating disorders."

"Then God said, 'Let us make man in our image, in our likeness, and let them rule over the fish of the sea and the birds of the air, over the livestock, … So God created man in his own image, in the image of God he created him; male and female he created them."

"Whoso sheddeth man's blood, by man shall his blood be shed: for in the image of God made he man."

"Behavior is a mirror in which everyone displays his own image."

"It's funny how your relationship with your own looks changes when you go weeks without seeing yourself. None of us really knows what we look like after all. In that nanosecond it takes for a mirror to give our faces back to us our mind has already done all sorts of perverse rearranging."

"One picture in ten thousand, perhaps, ought to live in the applause of mankind, from generation to generation until the colors fade and blacken out of sight or the canvas rot entirely away."

"Like the ancient snake that bites its own tail, seeing a circle in a dream can suggest the things in your life that are sacred and remain unchanged, even while you travel through metamorphosis. As an image of returning to the beginning, it can suggest that a cycle is completing so that a new one will soon emerge."

"Memory offers up its gifts only when jogged by something in the present. It isn't a storehouse of fixed images and words, but a dynamic associative network in the brain that is never quiet and is subject to revision each time we retrieve an old picture or old words."

"Can any one deny that the old Israelites conceived Jahveh not only in the image of a man, but in that of a changeable, irritable, and, occasionally, violent man?"

"Images are books for the illiterate and silent heralds of the honor of the saints, teaching those who see with a soundless voice and sanctifying the sight."

"Images are much more available now than they were in the 1970s. It's very hard to convey that. Now, people can see what they like on their mobile phone."

"An empty canvas is a living wonder -- far lovelier than certain pictures."

"Who will believe us when we say that we do not love these stuffed dummies—carved or painted images—when our deeds convict us? God hates and despises images, as I shall show. He considers them an abomination and says that all human beings are in his eyes as the things they love. Images are an abomination; it follows therefore that we too shall become abominable, if we love them."

"It cannot therefore be true that images are the textbooks of laypersons. For they are unable to learn their salvation from them. ... How can you save lay persons when you ascribe to images the power which God gave to his word alone?"

"If you were to really hate and dislike a picture with all your heart, so that you could not bear to see or hear of it, how would you like it if someone insisted on getting to know and honor you through such a hated, horrible book? ... And God says that he does not like any image which we make, and ... that he hates and despises all who love images."

"God desires to indwell in my whole and total heart and cannot in any way tolerate my having an image in my mind's eye."

"It was a beautiful embodied thought, A dream of the fine painter, one of those That pass by moonlight o'er the soul, and flit 'Mid the dim shades of twilight, when the eye Grows tearful with its ecstasy."

"When the crucified Jesus is called the 'image of the invisible God', the meaning is that this is God, and God is like this."

"The picture that approaches sculpture nearest Is the best picture."

"Magic and art tend to share a lot of the same language. They both talk about evocation, invocation, and conjuring. If you’re trying to conjure a character, then maybe you should treat that with the respect that you would if you were trying to conjure a demon. Because if an image of a god is a god, then in some sense the image of a demon is a demon. I’m thinking of people like Malcolm Lowry, the exquisite author of Under the Volcano. There are kabbalistic demons that are lurking all the way through Under the Volcano, and I assume they were probably similar forces to the ones that eventually overwhelmed Lowry’s life, such as the drinking and the madness. When I hear alcoholics talk about having their demons, I think that they’re probably absolutely literally correct."

"Um Habiba and Um Salama mentioned about a church they had seen in Ethiopia in which there were pictures. They told the Prophet about it, on which he said, "If any religious man dies amongst those people they would build a place of worship at his grave and make these pictures in it. They will be the worst creature in the sight of Allah on the Day of Resurrection."

"Man makes god in his own image."

"My goal was to be different, strong; to sculpt my own body to reinvent the self. It's all about being different and creating a clash with society because of that. I tried to use surgery not to better myself or become a younger version of myself, but to work on the concept of image and surgery the other way around. I was the first artist to do it."

"I am not sure I can change such a thing, but I can produce images that are different from those we find in comics, video games, magazines and TV shows. There are other ways to think about one's body and one's beauty. If you were to describe me without anyone being able to see me, they would think I am a monster, that I am not fuckable. But if they see me, that could perhaps change."

"In the old days pictures went forward toward completion by stages. Every day brought something new. A picture used to be a sum of additions. In my case a picture is a sum of destructions. I do a picture — then I destroy it. In the end though, nothing is lost: the red I took away from one place turns up somewhere else."

"I think a picture is more like the real world when it is made out of the real world."

"We are frequently faced with the necessity of looking for the picture required for the visualization of an object, not in the perception of this particular object, but in a different perceptual image. ...we can assert the discrepancy between the perceived picture and the objective state. This discrepancy... proves absolutely nothing against the fact that all visualizations are merely sense qualities of the perceptual space. ...If the parallelism is ...to be visualized, we must supplement our assertion by the description of certain qualities with which we are familiar from perceptual space."

"Claiming to be wise, they became fools, and exchanged the glory of the immortal God for images (εἰκόνος) resembling mortal man."

"Like the Great Communicator who charms through lies, the medical authority figure- paternalistic and technocratic at the same time - delivers these messages less by his words than by the power of his image and his persona."

"As with any visual image, The Silent Scream relies on our predisposition to "see" what it wants us to "see" because of a range of influences that come out of the particular culture and history in which we live. The aura of medical authority, the allure of technology, the cumulative impact of a decade of fetal images- on billboards, in shopping center malls, in science fiction blockbusters like 2001: A Space Odyssey-all rescue the film from utter absurdity; they make it credible. "The fetal form" itself has, within the larger culture, acquired a symbolic import that condenses within it a series of losses-from sexual innocence to compliant women to American imperial might. It is not the image of a baby at all but of a tiny man, a homunculus."

"It is not only anti abortionists who respond to fetal images however. The "public" presentation of the fetus has become ubiquitous; its disembodied form, now propped up by medical authority and technological rationality, permeates mass culture. We are all, on some level, susceptible to its coded meanings. Victor Burgin points out that it does no good to protest the "falseness" of such images as against "reality," because "reality"-that is, how we experience the world, both "public" and "private"-" is itself constituted through the agency of representations." This suggests that women's ways of seeing ultrasound images of fetuses, even their own, may be affected by the cumulative array of "public" representations, from Life Magazine to The Silent Scream. And it possibly means that some of them will be intimidated from getting abortions-although as yet we have little empirical information to verify this. When young women seeking abortions are coerced or manipulated into seeing pictures of fetuses, their own or others, it is the "public fetus" as moral abstraction they are being made to view. But the reception and meanings of fetal images also derive from the particular circumstances of the woman as viewer, and these circumstances may not fit neatly within a model of women as victims of reproductive technologies. Above all, the meanings of fetal images will differ depending on whether a woman wishes to be pregnant or not. With regard to wanted pregnancies, women with very diverse political values may respond positively to images that present their fetus as if detached, their own body as if absent from the scene. The reasons are a complex weave of socioeconomic position, gender psychology, and biology."

"Attachment of pregnant women to their fetuses at earlier stages in pregnancy becomes an issue, not because it is cemented through "sight" rather than "feel," but when and if it is used to obstruct or harass an abortion decision. In fact, there is no reason any woman's abortion decision should be tortured in this way, because there is no medical rationale for requiring her to view an image of her fetus. Responsible abortion clinics are doing ultrasound imaging in selected cases-only to determine fetal size or placement, where the date of the woman's last menstrual period is unknown, the pregnancy is beyond the first trimester, or there is a history of problems; or to diagnose an ectopic pregnancy. But in such cases the woman herself does not see the image, because the monitor is placed outside her range of vision and clinic protocols refrain from showing her the picture unless she specifically requests it. In the current historical context, to consciously limit the uses of fetal images in abortion clinics is to take a political stance, to resist the message of The Silent Scream. This reminds us that the politics of reproductive technologies are constructed contextually, out of who uses them, how, and for what purposes."

"Images by themselves lack "objective" meanings; meanings come from the interlocking fields of context, communication, application, and reception. If we removed from the ultrasound image of The Silent Scream its title, its text, its sound narrative, Dr. Nathanson, the media and distribution networks, and the whole antiabortion political climate, what would remain? But, of course, the question is absurd because no image dangles in a cultural void, just as no fetus floats in a space capsule. The problem clearly becomes, then, how do we change the contexts, media, and consciousnesses through which fetal images are defined?"

"Ancient portraits are symbolic images without any immediate relation to the individuals represented; they are not portraits as we understand them. ...It is remarkable that philologists who are capable of carrying accuracy to the extremes in the case of words are as credulous as babies when it comes to "images," and yet an image is so full of information that ten thousands words would not add up to it."

"When you wish to see whether the general effect of your picture corresponds with that of the object represented after nature, take a mirror and set it so that it reflects the actual thing, and then compare the reflection with your picture, and consider carefully whether the subject of the two images is in conformity with both, studying especially the mirror. The mirror ought to be taken as a guide... you see the picture made upon one plane showing things which appear in relief, and the mirror upon one plane does the same. The picture is on one single surface, and the mirror is the same. ...if you but know well how to compose your picture it will also seem a natural thing seen in a great mirror."

"Imagery played a central role in theories of the mind for centuries. For example, the British Associationists conceptualizes thought itself as sequences of images. And, Wilhelm Wundt, the founder of scientific psychology, emphasized the analysis of images. However, the central role of imagery in theories of mental activity was undermined when Kulpe, in 1904, pointed out that some thoughts are not accompanied by imagery (e.g., one is not aware of the processes that allow one to decide which of two objects is heavier)."

"2.1 We picture facts to ourselves. 2.11 A picture presents a situation in logical space, the existence and non-existence of states of affairs. 2.12 A picture is a model of reality. 2.13 In a picture objects have the elements of the picture corresponding to them. 2.131 In a picture the elements of the picture are the representatives of objects. 2.14 What constitutes a picture is that its elements are related to one another in a determinate way. 2.141 A picture is a fact."

"[T]he true vanishing point of every picture is the death image, the Todesbild. The tomb effigy, the memorial portrait, and the death mask approach a condition of perfect substitutability for the irrevocably absent object, the once-living body. The dead person exchanges his body for an image; that image holds a place for him among the living (p. 29 and chap. 6). Belting describes this exchange, enacted in ancient cults of the dead, as the archetype of the image- body-medium triangle (p. 29). The photograph, the performance, and the statue, in turn, point directly toward that ideal exchange-ability. Essentially, every image wants to be a home for a lost soul. "Without the connection to death," Belting explicitly says, "those images that merely simulate the world of life quickly fall into a pointless circularity and the proverbial accusation of deceptiveness...." (p. 190). Death guarantees the image. Without that strong link to the irreversibly absent yet sharply desired object, the image would be a mere work of art."

"The Ethiops say that their gods are flat-nosed and black, While the Thracians say that theirs have blue eyes and red hair. Yet if cattle or horses or lions had hands and could draw, And could sculpt like men, then the horses would draw their gods Like horses, and cattle like cattle; and each they would shape Bodies of gods in the likeness, each kind, of their own."

"Image and appearance tell you little. The inside is bigger than the outside when you have the eyes to see."

"What is the use of a book", thought Alice, "without pictures or conversations?"

"Why did you make the Lady of Shalott, in the illustration, with her hair wildly tossed about as if by tornado? ... I didn’t say that her hair was blown about like that ... Why did you make the web wind round and round her like the threads of a cocoon? ... I did not say it floated round and round her."

"A good illustrator may draw from models but knows how to forget them."

"To illustrate any text is also to interpret it."

"Beatrix Potter portrayed the world from a mouse’s- or rabbit’s- or small child’s-eye view. The vantage point in her exquisite watercolors varies from a few inches to a few feet from the ground, like that of a toddler."

"Can you imagine illustration in modern novels? ... For instance, in Norman Mailer? They would have to be abstracts. Don’t you think? Sort of barbed wire and blotches?"

"Illustration is a very old form, far older than the novel, balanced somewhere in between painting and literature but belonging to neither."

"I cannot imagine how it must feel for an author to see someone else’s interpretation of their own inner vision. I am constantly amazed at how appreciative most of them manage to be."

"For a musician, visualization is the process of picturing in our minds eye what we hear in our mind's ear. Visualization is something we all do. In fact, putting a visual form before the mind's eye or forming a mental image is something that precedes most things that we do."

"The conception of lines of force was introduced by Faraday to form a mental picture of the processes going on in the electric field. To him these lines were not mere mathematical abstractions. He ascribed to them properties that gave them a real physical significance."

"In medical science arguments are going on between behaviorists who perceive the function of brain as a multitude of simple and unconscious conditioned reflexes, and cognitivists who insist that humans sensing the surrounding world create its mental image which can be considered as memory of facts."

"During the late 1970s and early 1980s there was vigorous debate about the nature of visual mental imagery. One position (championed primarily by Pylyshyn, 1973, 1981) held that representations that underlie the experience of mental imagery are the same type as those used in language; the other position (which my colleagues and I supported, e.g., Kosslyn, 1980, 1994) held that these representations serve to depict, not describe, objects. The debate evolved over time... but always centred on the nature of the internal representations that underlie the experience of visualisation."

"Formulate and stamp indelibly on your mind a mental picture of yourself as succeeding. Hold this picture tenaciously. Never permit it to fade. Your mind will seek to develop the picture. Never think of yourself as failing; never doubt the reality of the mental image."

"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."

"A conceptual model is a mental image of a system, its components, its interactions. It lays the foundation for more elaborate models, such as physical or numerical models. A conceptual model provides a framework in which to think about the workings of a system or about problem solving in general. An ensuing operational model can be no better than its underlying conceptualization."

"The tradition in Hinduism is that it is not open to any Hindu, whatever be the name and mental image of the Supreme Being he uses for his devotional exercises, to deny the existence of God that others worship."

"We never have any understanding of any subject matter except in terms of our own mental constructs of "things" and "happenings" of that subject matter."

"Imagery played a central role in theories of the mind for centuries. For example, the British Associationists conceptualizes thought itself as sequences of images. And, Wilhelm Wundt, the founder of scientific psychology, emphasized the analysis of images. However, the central role of imagery in theories of mental activity was undermined when Kulpe, in 1904, pointed out that some thoughts are not accompanied by imagery (e.g., one is not aware of the processes that allow one to decide which of two objects is heavier)."

"As a brain researcher, I'd started out simply accepting the strictly objective principles of the behaviorist position. In the 1950s and early 1960s, all respectable neuroscientists thought in these terms. In those days, we wouldn't have been caught dead implying that consciousness or subjective experience can affect physical brain processing. My first break with this thinking — although I certainly didn't see it that way at the time — came in a 1952 discussion of mind-brain theory in which I proposed a fundamentally new way of looking at consciousness. In it, I suggested that when we focus consciously on an object — and create a mental image for example — it's not because the brain pattern is a copy or neural representation of the perceived object, but because the brain experiences a special kind of interaction with that object, preparing the brain to deal with it. I maintained that an identical feeling or thought on two separate occasions did not necessarily involve the identical nerve cells each time. Instead, it is the operational impact of the neural activity pattern as a whole that counts, and this depends on context — just as the word "lead" can mean different things, depending on the rest of the sentence."

"When we focus consciously on an object — and create a mental image for example — it's not because the brain pattern is a copy or neural representation of the perceived object, but because the brain experiences a special kind of interaction with that object, preparing the brain to deal with it. I maintained that an identical feeling or thought on two separate occasions did not necessarily involve the identical nerve cells each time. Instead, it is the operational impact of the neural activity pattern as a whole that counts, and this depends on context — just as the word "lead" can mean different things, depending on the rest of the sentence."

"I often told the fanatics of realism that there is no such thing as realism in art: it only exists in the mind of the observer. Art is a symbol, a thing conjuring up reality in our mental image. That is why I don't see any contradiction between abstract and figurative art either."

"Acting is the physical representation of a mental picture and the projection of an emotional concept."

"Here it's worth briefly noting, however, that pictorialism is only one of two major representationalist theories of vision and imagination (or mental imagery), the other being propositionalism."

"In many cases a dull proof can be supplemented by a geometric analogue so simple and beautiful that the truth of a theorem is almost seen at a glance."

"When visualization tools act as a catalyst to early visual thinking about a relatively unexplored problem, neither the semantics nor the pragmatics of map signs is a dominant factor. On the other hand, syntactics (or how the sign-vehicles, through variation in the visual variables used to construct them, relate logically to one another) are of critical importance."

"The Process Chart is a device for visualizing a process as a means of improving it. Every detail of a process is more or less affected by every other detail; therefore the entire process must be presented in such form that it can be visualized all at once before any changes are made in any of its subdivisions. In any subdivision of the process under examination, any changes made without due consideration of all the decisions and all the motions that precede and follow that subdivision will often be found unsuited to the ultimate plan of operation."

"The aim of the process chart is to present information regarding existing and proposed processes in such simple form that such information can become available to and usable by the greatest possible number of people in an organization before any changes whatever are actually made, so that the special knowledge and suggestions of those in positions of minor importance can be fully utilized."

"The most elementary aspect of administration is organization the structure of social institutions and their constituent parts, the composition of economic enterprises and their various branches, the organization of governmental agencies and their numerous departments. As it is mainly a matter of structure, organization bears the same rudimentary relationship to administration as does the science of anatomy or skeletology to the field of medicine. An administrative organization can be sketched and charted just as the human body can be physically depicted. Apart from its graphic convenience and its "teachable" quality, however, what intrinsic relationship does organization bear to administration?"

"The writer has found, in analyzing and diagnosing organization and accounting work, that charts can express more on one page than is sometimes expressed in several chapters of writing, and has been the author and originator of many methods of charting industrial expressions. It is necessary, as a first step, for analytical and other purposes, to make a chart expressing all of the relations governing the organization of a business so as to show the very foundation upon which all authorities, accounting, and business transactions are based and conducted. There have been more failures scored both personally and financially for lack of these very elements in a business than by reason of any other one thing. As well try to build a house without a foundation as to try to conduct a business, especially a manufacturing business, without proper organization."

"The unusual personality of is reflected in an extraordinary number of portraits. They begin in his early youth, and do not end with his death. They continue during the and periods, and all subsequent periods down to modern times. The portraits of Alexander not only reflect the different phases of his short life but become an artistic motif for all following periods."

"The fact that some of the noblest and most highly esteemed examples that survive to us of the best days of painting are those of portraiture is sufficient demonstration of the dignity of the art itself. To produce a portrait is to do much more than make a mere study of a head. Qualities of , balance of light and shade, appropriate accessories, and many other elements of a pictorial æsthetic nature combine to give dignity to the and mark it as a work of art."

"Independent portrait sculpture was revived around the middle of the in three main forms—the , the , and the . Equestrian monuments are over life-size, they were made by public decree, and were displayed in public places. Sculptured busts are life-size, were privately commissioned, and were displayed on private property. Medals are small in scale, they might be commissioned officially or privately, and they were intended for a selected audience that did not include the public at large but extended beyond the sitter's personal domain. ... None of these classes of portraiture had actually disappeared during the middle ages, but when they occurred they were included within some physical and conceptual context, such as church and tomb decoration, or ordinary coinage ..."

"... It is part of the gift of time to us that a portrait, if only done ably, at last satisfies the generation which knew not the man portrayed. Even to old folk who once “saw Shelley plain,” and yet grow forgetful of the man's infinite variety, the portrait may serve."

""Commemoration" was a particularly important function of portraiture. 's well-known dictum on the ability of paintings to preserve the likeness of men after their deaths was an expression of faith in the magical victory of art over time, as if painting could overcome death. It is significant in this respect that the portrait itself is descended from the tomb effigy or least was originally associated with this art form. Examples of likenesses of deceased persons — usually members of the high clergy — in the form of reliefs or sculptures on altar tombs date from as early as the high or late Middle Ages: the tombstone of Archbishop Friederich of Wettin (c. 1152) at , for example, or that of (), shown in crowning two reduced-scale kings. Links between the portrait and the cult of the dead may be traced back to antique art. In Roman times and kept in the shrine in the of s."