Our sense of justice depends on our sense of time. Justice is a phenomenon only of consciousness, because time spread out in a spatial succession is its very essence. And this is possible only in a spatial metaphor of time.
I think what art is always doing is making us see the world so differently, and I don't mean just colors and light, but re-thinking relationships, spatial relationships, psychological relationships ... those who gravitate to the art world actually want to be puzzled.
I believe that gut feelings, the sense of balance, and spatial self-perception are so firmly coupled to our biological body that we will never be able to leave it experientially on a permanent basis.
There may be many Big Bangs that happened at various and far-flung locations, each creating its own swelling, spatial expanse, each creating a universe - our universe being the result of only one of those Big Bangs.
There's the added element of adrenaline if you're performing. You're aware of spatial relationships and the music.
Frank Lloyd Wright made houses right up until the end. I think that's important because it gives you a direct connection to all the basic aspects of architecture - the spatial energy of the place, the construction, the materials, the site, the detail.
Places are fragmentary and inward-turning histories, pasts that others are not allowed to read, accumulated times that can be unfolded but like stories held in reserve, remaining in an enigmatic state, symbolizations encysted in the pain or pleasure of he body. 'I feel good here': the well-being under-expressed in the language it appears in like a fleeting glimmer is a spatial practice.
An individual's ability to draw is... the ability to shift to a different-from-ordinary way of processing visual information - to shift from verbal, analytic processing to spatial, global processing.
Two aesthetics exist: the passive aesthetic of mirrors and the active aesthetic of prisms. Guided by the former, art turns into a copy of the environment's objectivity or the individual's psychic history. Guided by the latter, art is redeemed, makes the world into its instrument, and forges, beyond spatial and temporal prisons, a personal vision.
Illusions... are simple facts, but they have been created by the mind, by the spirit, and they are one of the justifications of the new spatial configuration.
Gravity is neither a force nor a consequence of any space-time curvature. It is simply an orderly spatial illusion to non-spatial observer/s.
Beyond the astral dimensions are the causal dimensions. They are not spatial or time oriented. They are planes of light, and they make up the outer limits of nirvana.
Architecture is the will of the age conceived in spatial terms.
As a young person, you have no fixed address, no studio, no money for materials, so I made things sort of on the run. That life doesn't favor the stability and spatial demands of painting.
Polyphonic painting is superior to music in that there, the time element becomes a spatial element. The notion of simultaneity stands out even more richly.
Conscious mind is a spatial analog of the world and mental acts are analogs of bodily acts. Consciousness operates only on objectively observable things. Or, to say it another way with echoes of John Locke, there is nothing in consciousness that is not an analog of something that was in behavior first.
A near win shifts our view of the landscape. It can turn future goals, which we tend to envision at a distance, into more proximate events. We consider temporal distance as we do spatial distance. (Visualize a great day tomorrow and we see it with granular, practical clarity. But picture what a great day in the future might be like, not tomorrow but fifty years from now, and the image will be hazier.)
Spatial working memory is impaired by stress.
As I became aware that all things have unique spatial and temporal qualities which visually define and relate them, I began to perceive the things I was photographing not as objects but as events. Working to develop my skills of perceiving and symbolizing these event qualities, I discovered the principle of opposites. When, for example, I photographed the smooth, luminous body of a woman behind a dirty cobwebbed window, I found that the qualities of each event were enhanced and the universal forces which they manifested were more powerfully evoked.
If you're walking with somebody, you're heading in the same direction, and the spatial dance you're doing is a little more cooperative.
As bad as we are at remembering names and phone numbers and word-for-word instructions from our colleagues, we have really exceptional visual and spatial memories.
First, if it is true that a spatial order organizes an ensemble of possibilities (e.g., by a place in which one can move) and interdictions (e.g., by a wall that prevents one from going further), than the walked actualizes some of these possibilities. In that way, he makes them exist as well as emerge. But he also moves them about and he invents others, since the crossing, drifting away, or improvisation of walking privilege, transform, or abandon spatial elements.
The really important facts were that spatial relationships had ceased to matter very much and that my mind was perceiving the world in terms of other than spatial categories. At ordinary times the eye concerns itself with such problems as where? — how far? — how situated in relation to what? In the mescaline experience the implied questions to which the eye responds are of another order. Place and distance cease to be of much interest. The mind does its perceiving in terms of intensity of existence, profundity of significance, relationships within a pattern.
Every chemical substance, whether natural or artificial, falls into one of two major categories, according to the spatial characteristic of its form. The distinction is between those substances that have a plane of symmetry and those that do not. The former belong to the mineral, the latter to the living world.
At pains to define liberty, that most resolute of indefinables, our minds fall back on spatial images; on birds, sailboats, and mountains; the untethered balloon, the blue sky, the nude figure.
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