Discover the most popular and inspiring quotes and sayings on the topic of Tangible. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Tangible Quotes And Sayings by 97 Authors including Deepak Chopra,Jennifer Worth,Danny Meyer,David Abram,Theo Van Doesburg for you to enjoy and share.
All our technology - whether we use fax machines or computers or speak on phones or watch programs on television - is based on the premise that the essential nature of the material world is non-material.
Inanimate objects have a life of their own, especially when they are the daily companions of a living soul. Without that life, they take on a bleak, desolate appearance, like furniture piled up in a warehouse.
Be aware of textural elements throughout a party, like silverware, stemware, and linens. But the biggest element is metaphorical: it's your own touch. How are you making people feel?
If we speak of things as inert or inanimate objects, we deny their ability to actively engage and interact with us - we foreclose their capacity to reciprocate our attentions, to draw us into silent dialogue, to inform and instruct us.
We speak of concrete and not abstract painting because nothing is more concrete, more real than a line, a color, a surface.
I always hesitate to say that something is lifelike.
MATERIAL, adj. Having an actual existence, as distinguished from an imaginary one. Important.
The hand of the painter is incurably mechanical: his technique is incurably artificial ... The camera ... is so utterly unmechanical.
Art is a wholly physical language whose words are all the visible objects.
Real life is physical. Give me books instead. Give me the invisibility of the contents of books, the thoughts, the ideas, the images. Let me become part of a book ... an intertextual being: a book cyborg, or, considering that books aren't cybernetic, perhaps a bibliorg.
The properties which differentiate living matter from any kind of inorganic imitation may be instinctively felt, but can hardly be formulated without expert knowledge.
Once the object has been constructed, I have a tendency to discover in it, transformed and displaced, images, impressions, facts which have deeply moved me.
Every thought, good or bad, becomes concrete; it materializes and becomes a reality.
My art is not abstract, it lives and breathes
There is something truer and more real, than what we can see with the eyes, and touch with the finger.
Actual space is intrinsically more powerful and specific than paint on a flat surface,
The real is what resists symbolization absolutely.
The thing is you're looking for something two-dimensional and not quite real. It never lasts. But you can't expect something unreal to last anyway, can you?
want to feel something that is actually something. A feeling that is identifiable and real. A
A hit, a very palpable hit.
What you contemplate, you touch. What you enter into in imagination, you make yourself one with.
The mind is inherently embodied.
Thought is mostly unconscious.
Abstract concepts are largely metaphorical.
At one point I felt a tension between objects, their real, physical lives, and the idea of meaning: the physical, material reality of a book, and the totally intangible experience of reading it.
With clothing being designed that allows you to be hugged virtually, video conferencing becoming ever sharper, and our social and romantic lives increasingly taking place online, the gap between the physical and the virtual is getting ever smaller.
Proper visualization by the exercise of concentration and willpower enables us to materialize thoughts, not only as dreams or visions in the mental realm, but also as experiences in the material realm.
Material things
are produced by men
and measured in dollars.
Intangible things
are produced by souls
and measured in love.
Because of this the representation I'm interested in is of those things only the eye can touch.
Be transparent like glass, be flexible like water, and be attractive like a magnet.
I'm a very physical person. I'm very tactile. I wrestled in college, so a lot of my communication with the world comes through physicality - what I take in and what I put out there.
A painting or sculpture not modelled on any real object is every bit as concrete and sensuous as a leaf or a stone ... but it is an incomplete art which privileges the intellect to the detriment of the senses.
We favor the visible, the embedded, the personal, the narrated, and the tangible; we scorn the abstract.
A property is that which not at all
Can be disjoined and severed from a thing
Without a fatal dissolution: such,
Weight to the rocks, heat to the fire, and flow
To the wide waters, touch to corporal things,
Intangibility to the viewless void.
Through mastering the means of perception, the promise of who you are in physical form is opened with an increasing opportunity for fulfilment.
Touching is a powerful act
You live on the surface," Lia told me years later. "You sometimes seem profound, but it's only because you piece a lot of surfaces together to create the impression of depth, solidity. That solidity would collapse if you try to stand it up.
Touch is better than any word.
The materials shape your idea.
Images are made palpable, ironed flat by technology and, in turn, dictate the seemingly real through the representative.
Intangible assets are real, identifiable assets that are not physical objects.
If [things] seem to have a relative unreality ... it is because they are potential and not actual; they are unfulfilled ... They have it in them to be more real than they are.
The physical is only a small aspect of existence. In this cosmos, not even 1% is physical - the rest is non-physical.
In a very real way, then, materials are a reflection of who we are, a multi-scale expression of our human need and desires.
Touch is one of the most intuitive things in the world.
Everything built with an art, May your eyes couldn't see it, but digital eye can.
Many of the most powerful things in life are not tangible. All it takes is for you to close your eyes to see.
Whenever the glory of God shows up on the earth it always becomes visible in some tangible way.
As regards my means of expression, I try my hardest to achieve the maximum of clarity, power, and plastic aggressiveness; a physical sensation to begin with, followed up by an impact on the psyche.
There was a tangible sense of potential as we packed them up. 'We're giving people 3-D printers that they can afford. What are they gonna make?
Everything that you see before you with your physical eyes is an illusion. In other words, you are not seeing correctly. Life is made up of light. But if you are only looking through the senses, it seems solid and physical.
For real human beings, the only realism is an embodied realism.
There's something very satisfying about creating a tactile product.
But to make the intangible tangible, to pick the emotion out of the air and make it true for others, is both the blessing and the curse of the writer, for the thing between book covers is never as beautiful as the thing he imagined.
Impersonal things that dominate our time and imagination offer extravagant promises of control and knowledge. But they also squeeze all sense of mystery and wonder and reverence out of our lives.
There is a physical relation between physical things. But it is different with commodities.
Contemporary science is based on the philosophy of materialism, which claims that all reality is material or physical.
Yet I'm making a book and I'm going to care immensely about what words get bound in the pages, and I want the object to look good. I won't believe in it and it won't be real to me until there's a finished book I can hold.
Words, too, have genuine substance
mass and weight and specific gravity.
Anything you can imagine you can make real.
What doubts, what hypotheses, what labyrinths of amusement, what fields of disputation, what an ocean of false learning, may be avoided by that single notion of immaterialism!
Invisible things are the only realities.
The result of these walks on my head is tangible: they refined what I can see.
It's tangible, it's solid, it's beautiful. It's artistic, from my standpoint, and I just love real estate.
An object may seem static to you and to me, but every bit of it is in continuous movement, shaking, shivering, and rotating.
Thought's surface: word.
Word's surface: gesture.
Gesture's surface: skin.
Skin's surface: shiver.
Atoms are made out of invisible energy, not tangible matter! So
The meaning of words has become so blurred by past usage that 'abstract' is identified with 'vague' and 'unreal,' and 'inwardness' with a sort of traditional beatitude ... The conception of the word 'plastic' has also been limited by individual interpretations.
What we touch with our fingers is false. What we feel through our perceptions is real. What we see through our eyes is an illusion, but what we see through our heart is real.
My characters are not plastic.
One feels 'the dearth of human words, the roughness of mortal speech' in trying to describe things intangible.
Physicality is the basis of performance.
I must learn to express the gentle vibration of things: the intrinsically rough texture. I must find this expression in drawings; in the way in which I draw my nudes here in Paris, more original and at the same time sensitively observed.
Abstract pictures are fictive models, because they make visible a reality that we can neither see nor describe, but whose existence we can postulate.
Touch speaks to us on levels, so much deeper than the intellect can comprehend, going to the root of us, to levels of comprehension we can't ignore.
Nothing is inanimate; what is the rest is our interpretation.
Isolated material particles are abstractions, their properties being definable and observable only through their interaction with other systems .
The most powerful part of the art is experiential, yet it's the hardest to describe because it's nonverbal.
To see the object as in itself it really is
Feelings are intangible," he said. "You can't see them, can't touch them. You can hurt and no one would know. But physical pain is real. You can see blood and broken bones. It's simple in a way feelings are not, and cutting makes the abstract pain of feelings substantial.
Shape without form, shade without colour, paralyzed force, gesture without motion ...
elusive nature of knowledge-based work requires different measurement and control methods compared to creating tangible deliverables from physical materials.
There are no inanimate objects ...
A TWO-DIMENSIONAL SURFACE WITHOUT ANY ARTICULATION IS A DEAD EXPERIENCE
Even an abstract form has to have a likeness.
Physical concepts are free creations of the human mind,and are not however it may seem, uniquely determined by the external world
You take for granted the details that make something look real. It can still look fabulous, but if you add a light switch, a vent, or the notion of air conditioning, it can look real.
No more do we create cultural artifacts that are simply our furniture, but now it's our thoughts, our values, are embodied in this [digital] stuff.
Paper reassures me, its touch. It's what you respect.
Merely to see ... is not enough. It is necessary to have a fresh, vivid, physical contact with the object you draw through as many of the senses as possible - and especially through the sense of touch.
The plastic artist may or may not be concerned with presenting a superficial appearance of reality, but he is always concerned with the presentation - if not the representation - of the plastic values of reality.
Everything is in the way the material is composed.
Unlike Elise, who could discover parts of a person they didn't even know were absent, you specialized in tangible, but that, I feared, was only a matter of time.
The compelling thing about making art - or making anything, I suppose - is the moment when the vaporous, insubstantial idea becomes a solid there, a thing, a substance in a world of substances.
In a world that daily disconnects further from truth, more and more people accept the virtual in place of the real, and all things virtual are also malleable.
Touch is the meaning of being human.
Art in painting should consist only of the representation of things that are visible and tangible.
Reality, whether approached imaginatively or empirically, remains a surface, hermetic.
When it comes to your talent, translate the intangible into the tangible.
The iPhone When we are at these early stages in design . . . often we'll talk about the story for the product - we're talking about perception. We're talking about how you feel about the product, not in a physical sense, but in a perceptual sense. - JONY IVE
Paper and digital prototypes, PowerPoint mockups, personas, filmed user testimonials, and 3D printed objects can be used to build excitement, communicate vision, and share understanding.
True realism lies in the search for the expression of forms faithful to their content. But there is no content detached from human interest.