Analog Clock Quotes

Some have argued that because the universe is like a clock, there must be a Clockmaker. As the eighteenth-century British empiricist David Hume pointed out, this is a slippery argument, because there is nothing that is really perfectly analogous to the universe as a whole, unless it's another universe, so we shouldn't try to pass off anything that is just a part of this universe. Why a clock anyhow? Hume asks. Why not say the universe is analogous to a kangaroo? After all, both are organically interconnected systems. But the kangaroo analogy would lead to a very different conclusion about the origin of the universe: namely, that it was born of another universe after that universe had sex with a third universe.

For most digital-age writers, writing is rewriting. We grope, cut, block, paste, and twitch, panning for gold onscreen by deleting bucketloads of crap. Our analog ancestors had to polish every line mentally before hammering it out mechanically. Rewrites cost them months, meters of ink ribbon, and pints of Tippex. Poor sods.

Adam Smith himself made the analogy of the economy as a watch or a clock that once set in motion continues on its own.

Claiming "the budget can't allow it" reminds me of when you walk into a restaurant at a civilized hour like ten o'clock and they say "the kitchen is closed." For years I would hear this, and think, "damn, just a little too late, oh well, thank you, I guess it's Denny's again." And then one day it hit me: kitchens don't close. Just as at home, at a certain point in the night, I stop using the kitchen--but at three in the morning, if I want to, I still have the ability to go downstairs and "re-open" the kitchen by turning on the stove and opening the refrigerator! Restaurants are not banks; at the stroke of ten an enormous airlock doesn't seal off the kitchen and render the preparation of food an utter impossibility./ No, kitchens can open and budgets are what certain people say they are.

At some very low level, we all share certain fictions about time, and they testify to the continuity of what is called human nature, however conscious some, as against others, may become of the fictive quality of these fictions. It seems to follow that we shall learn more concerning the sense-making paradigms, relative to time, from experimental psychologists than from scientists or philosophers, and more from St. Augustine than from Kant or Einstein because St. Augustine studies time as the soul's necessary self-extension before and after the critical moment upon which he reflects. We shall learn more from Piaget, from studies of such disorders as déjà vu, eidetic imagery, the Korsakoff syndrome, than from the learned investigators of time's arrow, or, on the other hand, from the mythic archetypes. Let us take a very simple example, the ticking of a clock. We ask what it says: and we agree that it says tick-tock. By this fiction we humanize it, make it talk our language. Of course, it is we who provide the fictional difference between the two sounds; tick is our word for a physical beginning, tock our word for an end. We say they differ. What enables them to be different is a special kind of middle. We can perceive a duration only when it is organized. It can be shown by experiment that subjects who listen to rhythmic structures such as tick-tock, repeated identically, 'can reproduce the intervals within the structure accurately, but they cannot grasp spontaneously the interval between the rhythmic groups,' that is, between tock and tick, even when this remains constant. The first interval is organized and limited, the second not. According to Paul Fraisse the tock-tick gap is analogous to the role of the 'ground' in spatial perception; each is characterized by a lack of form, against which the illusory organizations of shape and rhythm are perceived in the spatial or temporal object. The fact that we call the second of the two related sounds tock is evidence that we use fictions to enable the end to confer organization and form on the temporal structure. The interval between the two sounds, between tick and tock is now charged with significant duration. The clock's tick-tock I take to be a model of what we call a plot, an organization that humanizes time by giving it form; and the interval between tock and tick represents purely successive, disorganized time of the sort that we need to humanize. Later I shall be asking whether, when tick-tock seems altogether too easily fictional, we do not produce plots containing a good deal of tock-tick; such a plot is that of Ulysses.

He got carried away as he developed his idea: 'The aesthetic quality of towns is essential. If, as has been said, every landscape is a frame of mind, then it is even more true of a townscape. The way the inhabitants think and feel corresponds to the town they live in. An analogous phenomenon can be observed in certain women who, during their pregnancy, surround themselves with harmonious objects, calm statues, bright gardens, delicate curios, so that their child-to-be, under their influence, will be beautiful. In the same way one cannot imagine a genius coming from other than a magnificent town. Goethe was born in Frankfurt, a noble city where the Main flows between venerable palaces, between walls where the ancient heart of Germany lives on. Hoffmann explains Nuremberg - his soul performs acrobatics on the gables like a gnome on the decorated face of an old German clock. In France there is Rouen, with its rich accumulation of architectural monuments, its. cathedral like an oasis of stone, which produced Corneille and then Flaubert, two pure geniuses shaking hands across the centuries. There is no doubt about it, beautiful towns make beautiful souls.

One use of the argument from analogy is found in response to the question of what or who created the universe. Some have argued that because the universe is like a clock, there must be a Clockmaker. As the eighteenthcentury British empiricist David Hume pointed out, this is a slippery argument, because there is nothing that is really perfectly analogous to the universe as a whole, unless it’s another universe, so we shouldn’t try to pass off anything that is just a part of this universe. Why a clock anyhow? Hume asks. Why not say the universe is analogous to a kangaroo? After all, both are organically interconnected systems. But the kangaroo analogy would lead to a very different conclusion about the origin of the universe: namely, that it was born of another universe after that universe had sex with a third universe.

the elevated anxiety he’s observed in this generation of campers is directly related to the constant hovering of their parents, who use digital technology to keep tabs on their children around the clock. They cannot surrender their authority. Many of the phones that Birenbaum has seized from campers over the past few summers were sent on the insistence of parents, who wanted to remain in touch.

development and neural plasticity. As mentioned earlier, the brain is not a computer. It is important to underscore this again in the present context because it is a core belief for many linguists, cognitive scientists and computer scientists. The desire to see the brain as a machine goes all the way back to Galileo’s analogy of the universe as a clock.