Geometric Design Quotes

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CIRCLES OF LIFE Everything Turns, Rotates, Spins, Circles, Loops, Pulsates, Resonates, And Repeats. Circles Of life, Born from Pulses Of light, Vibrate To Breathe, While Spiraling Outwards For Infinity Through The lens Of time, And into A sea Of stars And Lucid Dreams. Poetry by Suzy Kassem
Suzy Kassem (Rise Up and Salute the Sun: The Writings of Suzy Kassem)
Evidently, Austronesian settlers in the New Guinea region got the idea of “tattooing” their pots, perhaps inspired by geometric designs that they had already been using on their bark cloth and body tattoos. This style is termed Lapita pottery, after an archaeological site named Lapita, where it was described.
Jared Diamond (Guns, Germs, and Steel: The Fates of Human Societies (20th Anniversary Edition))
Basic geometric shapes communicate universal qualities common to all cultures. Practical design integrates them appropriately.
Maggie Macnab (Design by Nature: Using Universal Forms and Principles in Design (Voices That Matter))
gold light burned faintly. From his cosy window seat, Mario was tracing a frost-flower on the windowpane with an unsure finger. Were its perfectly-rendered geometric patterns a product of nature, or were they an artefact of metaphysics? Was the frost-flower to the Masters what a work of Art was to him? Did the Masters of Strings truly control every aspect of reality? The fractal flower slowly melted under Mario’s fingertip. “No work of chance here,” he bitterly thought. “This was by design.
Louise Blackwick (The Underworld Rhapsody)
Outside the moon had come out. It was full, a disk of bright silver. I saw a large, dramatic spider web on my back porch that must have been made while I was in the house with my mind in turmoil; the spider was just finishing the outer circle of it. The moon illuminated the strands of the big taut web so that it seemed to be made of pure light. It was dazzling, geometric and mysterious, and it calmed me just to stop and look at it, at the elaboration and power of life that could make such a design.
Walter Tevis
I have little interest in illustration, which lacks a kind of transcendental quality. It is too literal. I find typography more straightforward, conceptual, and appealing, with its strict geometric vocabulary. There is a bridge between typographic design and fine art, especially since typography possesses a complex subtlety. The idea, the method, and the honesty in expression are central to a designer who works with type.
Timothy Samara (Typography Workbook: A Real-World Guide to Using Type in Graphic Design)
There is only her." She continued to paint the marks that made up the Gemini and Leo constellations followed by the lines of the geometric design that charted the pattern of the moon and stars the night she’d said no to me.
Caroline Peckham (Fated Throne (Zodiac Academy, #6))
He said to me one day in the second week of July, “Asher Lev, there are two ways of painting the world. In the whole history of art, there are only these two ways. One is the way of Greece and Africa, which sees the world as a geometric design. The other is the way of Persia and India and China, which sees the world as a flower. Ingres, Cézanne, Picasso paint the world as geometry. Van Gogh, Renoir, Kandinsky, Chagall paint the world as a flower.
Chaim Potok (My Name Is Asher Lev)
His brown eyes would roam around the various sentimental and artistic bric-a-brac present, and his own banal toiles (the conventionally primitive eyes, sliced guitars, blue nipples and geometrical designs of the day), and with a vague gesture toward a painted wooden bowl or veined vase, he would say "Prenez donc une des ces poires. La bonne dame d'en face m'en offre plus que je n'en peux savourer." Or: "Mississe Taille Lore vient de me donner ces dahlias, belles fleurs que j'exècre.
Vladimir Nabokov (Lolita)
So it's not an architectural masterpiece. When Da5id and Hiro and the other hackers wrote The Black Sun, they didn't have enough money to hire architects or designers, so they just went in for simple geometric shapes. The avatars milling around the entrance don't seem to care.
Neal Stephenson (Snow Crash)
And are we not guilty of offensive disparagement in calling chess a game? Is it not also a science and an art, hovering between those categories as Muhammad’s coffin hovered between heaven and earth, a unique link between pairs of opposites: ancient yet eternally new; mechanical in structure, yet made effective only by the imagination; limited to a geometrically fixed space, yet with unlimited combinations; constantly developing, yet sterile; thought that leads nowhere; mathematics calculating nothing; art without works of art; architecture without substance – but nonetheless shown to be more durable in its entity and existence than all books and works of art; the only game that belongs to all nations and all eras, although no one knows what god brought it down to earth to vanquish boredom, sharpen the senses and stretch the mind. Where does it begin and where does it end? Every child can learn its basic rules, every bungler can try his luck at it, yet within that immutable little square it is able to bring forth a particular species of masters who cannot be compared to anyone else, people with a gift solely designed for chess, geniuses in their specific field who unite vision, patience and technique in just the same proportions as do mathematicians, poets, musicians, but in different stratifications and combinations. In the old days of the enthusiasm for physiognomy, a physician like Gall might perhaps have dissected a chess champion’s brain to find out whether some particular twist or turn in the grey matter, a kind of chess muscle or chess bump, is more developed in such chess geniuses than in the skulls of other mortals. And how intrigued such a physiognomist would have been by the case of Czentovic, where that specific genius appeared in a setting of absolute intellectual lethargy, like a single vein of gold in a hundredweight of dull stone. In principle, I had always realized that such a unique, brilliant game must create its own matadors, but how difficult and indeed impossible it is to imagine the life of an intellectually active human being whose world is reduced entirely to the narrow one-way traffic between black and white, who seeks the triumphs of his life in the mere movement to and fro, forward and back of thirty-two chessmen, someone to whom a new opening, moving knight rather than pawn, is a great deed, and his little corner of immortality is tucked away in a book about chess – a human being, an intellectual human being who constantly bends the entire force of his mind on the ridiculous task of forcing a wooden king into the corner of a wooden board, and does it without going mad!
Stefan Zweig (Chess)
FF DIN Designer: Albert-Jan Pool // Foundry: FontFont // Country of origin: Germany Release year: 1995 // Classification: Geometric Sans DIN is essentially the national typeface of Germany. Developed over many years by the German Institute for Standardization (Deutsches Institut für Normung) for traffic signs and other official applications, DIN is an unusually successful design by committee. Its spare, geometric construction effectively communicates
Stephen Coles (The Anatomy of Type: A Graphic Guide to 100 Typefaces)
Grace cut across an Oriental rug done in a plum, navy, and cream geometric pattern. The colors in the carpet pulled the richness of the furniture together. She noticed that Cade walked the perimeter of the room, sticking to the hardwood floor. Off to the right, a glassed-in sunroom caught the first rays of sunshine from the overcast day. The forest-green wicker furniture, abundant greenery, and a small bookcase with monthly magazines and mystery novels offered peace and solitude.
Kate Angell (The Cottage on Pumpkin and Vine)
The differences between religions are reflected very clearly in the different forms of sacred art: compared with Gothic art, above all in its “flamboyant” style, Islamic art is contemplative rather than volitive: it is “intellectual” and not “dramatic”, and it opposes the cold beauty of geometrical design to the mystical heroism of cathedrals. Islam is the perspective of “omnipresence” (“God is everywhere”), which coincides with that of “simultaneity” (“Truth has always been”); it aims at avoiding any “particularization” or “condensation”, any “unique fact” in time and space, although as a religion it necessarily includes an aspect of “unique fact”, without which it would be ineffective or even absurd. In other words Islam aims at what is “everywhere center”, and this is why, symbolically speaking, it replaces the cross with the cube or the woven fabric: it “decentralizes” and “universalizes” to the greatest possible extent, in the realm of art as in that of doctrine; it is opposed to any individualist mode and hence to any “personalist” mysticism. To express ourselves in geometrical terms, we could say that a point which seeks to be unique, and which thus becomes an absolute center, appears to Islam—in art as in theology—as a usurpation of the divine absoluteness and therefore as an “association” (shirk); there is only one single center, God, whence the prohibition against “centralizing” images, especially statues; even the Prophet, the human center of the tradition, has no right to a “Christic uniqueness” and is “decentralized” by the series of other Prophets; the same is true of Islam—or the Koran—which is similarly integrated in a universal “fabric” and a cosmic “rhythm”, having been preceded by other religions—or other “Books”—which it merely restores. The Kaaba, center of the Muslim world, becomes space as soon as one is inside the building: the ritual direction of prayer is then projected toward the four cardinal points. If Christianity is like a central fire, Islam on the contrary resembles a blanket of snow, at once unifying and leveling and having its center everywhere.
Frithjof Schuon (Gnosis: Divine Wisdom, A New Translation with Selected Letters (Library of Perennial Philosophy))
He made me depict from memory, in the greatest possible detail, objects I had certainly seen thousands of times without visualizing them properly: a street lamp, a postbox, the tulip design on the stained glass of our own front door. He tried to teach me to find the geometrical coordinations between the slender twigs of a leafless boulevard tree, a system of visual give-and-takes, requiring a precision of linear expression, which I failed to achieve in my youth, but applied gratefully, in my adult instar, not only to the drawing of butterfly genitalia during my seven years at the Harvard Museum of Comparative Zoology, when immersing myself in the bright wellhole of a microscope to record in India ink this or that new structure; but also, perhaps, to certain camera-lucida needs of literary composition.
Vladimir Nabokov (Speak, Memory)
An interesting question is whether symmetry with respect to translation, and indeed reflection and rotation too, is limited to the visual arts, or may be exhibited by other artistic forms, such as pieces of music. Evidently, if we refer to the sounds, rather than to the layout of the written musical score, we would have to define symmetry operations in terms other than purely geometrical, just as we did in the case of the palindromes. Once we do that, however, the answer to the question, Can we find translation-symmetric music? is a resounding yes. As Russian crystal physicist G. V. Wulff wrote in 1908: "The spirit of music is rhythm. It consists of the regular, periodic repetition of parts of the musical composition...the regular repetition of identical parts in the whole constitutes the essence of symmetry." Indeed, the recurring themes that are so common in musical composition are the temporal equivalents of Morris's designs and symmetry under translation. Even more generally, compositions are often based on a fundamental motif introduced at the beginning and then undergoing various metamorphoses.
Mario Livio (The Equation That Couldn't Be Solved: How Mathematical Genius Discovered the Language of Symmetry)
Given that our brains were shaped by natural selection, it could hardly be otherwise. Natural selection is driven by the competition among genes to be represented in the next generation. Reproduction leads to a geometric increase in descendants, and on a finite planet not every organism alive in one generation can have descendants several generations hence. Therefore organisms reproduce, to some extent, at one another’s expense. If one organism eats a fish, that fish is no longer available to be eaten by another organism. If one organism mates with a second one, it denies an opportunity at parenthood to a third. Everyone alive today is a descendant of millions of generations of ancestors who lived under these constraints but reproduced nonetheless. That means that all people today owe their existence to having winners as ancestors, and everyone today is designed, at least in some circumstances, to compete. That does not mean that people (or any other animals) house an aggressive urge that must be discharged, an unconscious death wish, a rapacious sex drive, a territorial imperative, a thirst for blood, or the other ruthless instincts that are often mistakenly equated with Darwinism.
Steven Pinker (How the Mind Works)
It had had a fragrant element, reminding him of a regular childhood experience, a memory that reverberated like the chimes of a prayer bell inside his head. For a few moments, he pictured the old Orthodox church that had dominated his remote Russian village. The bearded priest was swinging the elaborate incense-burner, suspended from gold-plated chains. It had been the same odour. Hadn’t it? He blinked, shook his head. He couldn’t make sense of that. He decided, with an odd lack of enthusiasm, that he’d imagined it. The effects of the war played tricks of the mind, of the senses. Looking over his shoulder, he counted all seven of his men as they emerged from the remnants of the four-storey civic office building. A few muddied documents were scattered on the ground, stamped with the official Nazi Party eagle, its head turned to the left, and an emblem he failed to recognize, but which looked to him like a decorative wheel, with a geometrical design of squares at its centre. Even a blackened flag had survived the bomb damage. Hanging beneath a crumbling windowsill, the swastika flapped against the bullet-ridden façade, the movement both panicky and defiant, Pavel thought. His men were conscripts. A few still wore their padded khaki jackets and mustard-yellow blouses. Most, their green field tunics and forage caps. All the clothing was lice-ridden and smeared with soft ash. Months of exposure to frozen winds had darkened their skins and narrowed their eyes. They’d been engaged in hazardous reconnaissance missions. They’d slept rough and had existed on a diet of raw husks and dried horsemeat. Haggard and weary now, he reckoned they’d aged well beyond their years.
Gary Haynes (The Blameless Dead)
Perspective does not appear to me to be a subjective deformation of things but, on the contrary, to be one of their properties, perhaps their essential property. It is precisely because of it that the perceived possesses in itself a hidden and inexhaustible richness, that it is a 'thing'...Far from introducing a coefficient of subjectivity into perception, it provides us with the assurance of communicating with a world which is richer than what we know of it, that is, of communicating with a real world...The perceived is grasped in an indivisible manner as an 'in-itself,' that is, as gifted with an interior which I will never have finished exploring; and as 'for-me,' that is, as given 'in person' through its momentary aspects. Neither this metallic spot which moves while I glance toward it, nor even the geometric and shiny mass which emerges from it when I look at it, nor finally, the ensemble of perspectival images which I have been able to have of it are the ashtray; they do not exhaust the meaning of the 'this' by which I designate it; and, nevertheless, it is the ashtray which appears in all of them...Thus, to do justice to our direct experience of things it would be necessary to maintain at the same time, against empiricism, that they are beyond their sensible manifestations and, against intellectualism, that they are not unities in the order of judgment, that they are embodied in their apparitions. The 'things' in naive experience are evident as perspectival beings ...I grasp in a perspectival appearance, which I know is only one of its possible aspects, the thing itself which transcends it. A transcendence which is nevertheless open to my knowledge--this is the very definition of a thing as it is intended by naive consciousness.
Maurice Merleau-Ponty (The Structure of Behavior)
After the Grand Perhaps” After vespers, after the first snow has fallen to its squalls, after New Wave, after the anorexics have curled into their geometric forms, after the man with the apparition in his one bad eye has done red things behind the curtain of the lid & sleeps, after the fallout shelter in the elementary school has been packed with tins & other tangibles, after the barn boys have woken, startled by foxes & fire, warm in their hay, every part of them blithe & smooth & touchable, after the little vandals have tilted toward the impossible seduction to smash glass in the dark, getting away with the most lethal pieces, leaving the shards which travel most easily through flesh as message on the bathroom floor, the parking lots, the irresistible debris of the neighbor’s yard where he’s been constructing all winter long. After the pain has become an old known friend, repeating itself, you can hold on to it. The power of fright, I think, is as much as magnetic heat or gravity. After what is boundless: wind chimes, fertile patches of the land, the ochre symmetry of fields in fall, the end of breath, the beginning of shadow, the shadow of heat as it moves the way the night heads west, I take this road to arrive at its end where the toll taker passes the night, reading. I feel the cupped heat of his left hand as he inherits change; on the road that is not his road anymore I belong to whatever it is which will happen to me. When I left this city I gave back the metallic waking in the night, the signals of barges moving coal up a slow river north, the movement of trains, each whistle like a woodwind song of another age passing, each ambulance would split a night in two, lying in bed as a little girl, a fear of being taken with the sirens as they lit the neighborhood in neon, quick as the fire as it takes fire & our house goes up in night. After what is arbitrary: the hand grazing something too sharp or fine, the word spoken out of sleep, the buckling of the knees to cold, the melting of the parts to want, the design of the moon to cast unfriendly light, the dazed shadow of the self as it follows the self, the toll taker’s sorrow that we couldn’t have been more intimate. Which leads me back to the land, the old wolves which used to roam on it, the one light left on the small far hill where someone must be living still. After life there must be life.
Lucie Brock-Broido (A Hunger)
In 1931, amid that incredible transformation, a brilliant young Russian psychologist named Alexander Luria recognized a fleeting “natural experiment,” unique in the history of the world. He wondered if changing citizens’ work might also change their minds. When Luria arrived, the most remote villages had not yet been touched by the warp-speed restructuring of traditional society. Those villages gave him a control group. He learned the local language and brought fellow psychologists to engage villagers in relaxed social situations—teahouses or pastures—and discuss questions or tasks designed to discern their habits of mind. Some were very simple: present skeins of wool or silk in an array of hues and ask participants to describe them. The collective farmers and farm leaders, as well as the female students, easily picked out blue, red, and yellow, sometimes with variations, like dark blue or light yellow. The most remote villagers, who were still “premodern,” gave more diversified descriptions: cotton in bloom, decayed teeth, a lot of water, sky, pistachio. Then they were asked to sort the skeins into groups. The collective farmers, and young people with even a little formal education, did so easily, naturally forming color groups. Even when they did not know the name of a particular color, they had little trouble putting together darker and lighter shades of the same one. The remote villagers, on the other hand, refused, even those whose work was embroidery. “It can’t be done,” they said, or, “None of them are the same, you can’t put them together.” When prodded vigorously, and only if they were allowed to make many small groups, some relented and created sets that were apparently random. A few others appeared to sort the skeins according to color saturation, without regard to the color. Geometric shapes followed suit. The greater the dose of modernity, the more likely an individual grasped the abstract concept of “shapes” and made groups of triangles, rectangles, and circles, even if they had no formal education and did not know the shapes’ names. The remote villagers, meanwhile, saw nothing alike in a square drawn with solid lines and the same exact square drawn with dotted lines. To Alieva, a twenty-six-year-old remote villager, the solid-line square was obviously a map, and the dotted-line square was a watch. “How can a map and a watch be put together?” she asked, incredulous. Khamid, a twenty-four-year-old remote villager, insisted that filled and unfilled circles could not go together because one was a coin and the other a moon.
David Epstein (Range: Why Generalists Triumph in a Specialized World)
Red, orange and green geometric designs painted its body as well as the flimsy collar around its neck. The creature flicked its tail and blinked its deep-set eyes, apparently oblivious to their presence. "That's a yraglian lizards," Deven whispered. "We need to stay back. They smell really bad if you upset them. I mean, really, really bad." Dirck nodded, unsurprised that the first native creature he encountered on Cyraria represented it so well.
Marcha A. Fox (A Dark of Endless Days (Star Trails Tetralogy, #2))
Red, orange and green geometric designs painted its body as well as the flimsy collar around its neck. The creature flicked its tail and blinked its deep-set eyes, apparently oblivious to their presence. "That's a yraglian lizard," Deven whispered. "We need to stay back. They smell really bad if you upset them. I mean, really, really bad." Dirck nodded, unsurprised that the first native creature he encountered on Cyraria represented it so well.
Marcha A. Fox (A Dark of Endless Days (Star Trails Tetralogy, #2))
There is traditional mosaic work and glazed tiles in geometric designs, but there is also a smattering of Western consumer goods: ‘several fine European pier glasses with very handsome hangings’ in the royal apartments, for instance, and ‘in each room is a fine gilt branch for wax candles’.60 This is not a straightforward act of emulation of Western tastes, however. In Islamic tradition, light possesses a divine quality as the visible manifestation of God’s presence and reason. As he consistently tries to do, Sidi Muhammad has borrowed from the West with
Linda Colley (The Ordeal of Elizabeth Marsh: A Woman in World History)
he was so focused on watching where Presley went that she almost didn’t see the man he was with until they stopped beneath a security light, their backs to her. She first noticed the other man then, and was shocked at his size. Then her gaze moved to the thick bush of curly hair pulled into a pony tail at the back of his neck, and she wondered how he ever got something that unruly washed and dried. It wasn’t until he turned sideways that she got a momentary glimpse of his profile. As she did, a strange, anxious feeling skittered through her belly, then quickly disappeared. The stranger didn’t matter. He couldn’t matter. It was time to make her move. She had to stop Presley now, before he went any farther. She reached toward the glove box for her handgun and taser, slipped the taser in her pocket and was reaching for the door latch when the big man turned and faced her. For a full fifteen or twenty seconds, Cat had a clear and unfettered view of his face, and in those seconds, the world fell out from under her. She didn’t know that she started moaning, or that she’d broken out in a cold sweat. All she knew was that she was no longer in her car in a San Antonio parking lot but back in her childhood home, trying to run from the intruder who’d come out of their bathroom. She was screaming for her father when the intruder’s arm slid around her chest and lifted her off her feet. She saw the strange geometric designs on his arm, then on the side of his face, as the cold slash of steel from his knife suddenly slid against her throat. The coppery scent of her own blood was thick in her nose as he dropped her to the floor, leaving her to watch as he slammed the same knife into her father over and over again. She tried to scream, but the sounds wouldn’t come. The last things she saw before everything went black were the look of sorrow on her father’s face and the demon who’d killed them running out the front door.
Sharon Sala (Nine Lives (Cat Dupree, #1))
Braid groups have many important practical applications. For example, they are used to construct efficient and robust public key encryption algorithms.7 Another promising direction is designing quantum computers based on creating complex braids of quantum particles known as anyons. Their trajectories weave around each other, and their overlaps are used to build “logic gates” of the quantum computer.8 There are also applications in biology. Given a braid with n threads, we can number the nails on the two plates from 1 to n from left to right. Then, connect the ends of the threads attached to the nails with the same number on the two plates. This will create what mathematicians call a “link”: a union of loops weaving around each other. In the example shown on this picture, there is only one loop. Mathematicians’ name for it is “knot.” In general, there will be several closed threads. The mathematical theory of links and knots is used in biology: for example, to study bindings of DNA and enzymes.9 We view a DNA molecule as one thread, and the enzyme molecule as another thread. It turns out that when they bind together, highly non-trivial knotting between them may occur, which may alter the DNA. The way they entangle is therefore of great importance. It turns out that the mathematical study of the resulting links sheds new light on the mechanisms of recombination of DNA. In mathematics, braids are also important because of their geometric interpretation. To explain it, consider all possible collections of n points on the plane. We will assume that the points are distinct; that is, for any two points, their positions on the plane must be different. Let’s choose one such collection; namely, n points arranged on a straight line, with the same distance between neighboring points. Think of each point as a little bug. As we turn on the music, these bugs come alive and start moving on the plane. If we view the time as the vertical direction, then the trajectory of each bug will look like a thread. If the positions of the bugs on the plane are distinct at all times – that is, if we assume that the bugs don’t collide – then these threads will never intersect. While the music is playing, they can move around each other, just like the threads of a braid. However, we demand that when we stop the music after a fixed period of time, the bugs must align on a straight line in the same way as at the beginning, but each bug is allowed to end up in a position initially occupied by another bug. Then their collective path will look like a braid with n threads. Thus, braids with n threads may be viewed as paths in the space of collections of n distinct points on the plane.10
Edward Frenkel (Love and Math: The Heart of Hidden Reality)
Both had been riding horses and wielding bows and spears since childhood, so they probably took pleasure in chasing game and practicing battle skills together. She wore typical Amazon-Scythian-Persian attire, and we know that Mithradates dressed in traditional Persian style, so we can picture the couple similarly garbed in long-sleeved tunics adorned with golden animals and geometric designs, wool cloaks edged with gold, heavy leather and gold belts with golden buckles, and patterned trousers tucked into high boots. Each carried a Scythian bow exquisite workmanship, and two light spears. Their horses, of the finest stock from the high pastures of Armenia, would have been decorated with ornaments of gold.
Adrienne Mayor
Follow me to the workshop area now where we will see how Gaudí used lattices of hanging strings and wires to conceive of his geometric forms and how the craftsmen of today use computer-aided design and manufacture to continue his legacy in the twenty-first century.
Glenn Cooper (The Resurrection Maker)
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The massive wardrobe, decorated with stickers and posters of Jack’s favourite bands, stood in the corner. I went to it and opened both the doors – then stepped back in amazement.   It was like something out of a fashion spread. Footwear was aligned in two perfectly straight lines along the bottom of the wardrobe, with boots at the back and shoes at the front. Each pair was polished and had a pair of socks folded up in the left shoe or boot. Above the shoes, Jack’s clothes were hung up on fancy padded hangers, organized by colour going from black through grey, white, pale pink, dark pink, purple and then blue. One quarter of the wardrobe was taken up with closet shelves, where every item, from T-shirts to jeans to scarves, was folded into a perfect geometric square that I wouldn’t have been able to achieve with two helpers, a ruler, and sticky tape.   I turned my head and looked at the chaos of the room. Then I looked back at the wardrobe.   No wonder she never let me see inside before.   “Jack, you big fat fake.” I let out a laugh that was half sob. “Look at this. Look! She’s the worst neat freak of them all, and I never even knew. I never even knew…”   Trying not to mess anything up too much, I searched through the neat piles of T-shirts until I found what seemed to be a plain, scoop-necked white top with short sleeves. I pulled it out, but when I unfolded it, there turned out to be a tattoo-style design on the front: a skull sitting on a bed of gleaming emeralds, with a green snake poking out of one eyehole. In Gothic lettering underneath, it read WELCOME TO MALFOY MANOR.   Typical Jack, I thought, hugging the shirt to my chest for a second. Pretending to be cool Slytherin when she’s actually swotty Ravenclaw through and through.
Zoë Marriott (Darkness Hidden (The Name of the Blade, #2))
The designs used by the Indians were partly geometric and were usually based on dreams of the owner. Often the owner’s totem was painted on the door flap.
W. Ben Hunt (Indian Crafts & Lore)
For thousands of years the creation of mandalas—circular, geometric designs—has been part of both Eastern and Western spiritual traditions.
Sarah Ban Breathnach (Simple Abundance: A Daybook of Comfort of Joy)
With agriculture, art lost its variety and became standardized into geometric designs that tended to degenerate into dull, repetitive patterns, a perfect reflection of standardized, confined, rule-patterned life.
John Zerzan (A People's History of Civilization)
The scenery that opened before me was composed of shades of black and white, and of trees woven together in lines along the boundaries between the fields. In places where the grass had not been cut, the snow had failed to blanket the fields in a uniform plane of white. Blades of grass were poking through its cover; from a distance it looked as if a large hand had begun to sketch an abstract pattern, by practicing some short strokes, fine and subtle. I could see the beautiful geometric shapes of fields, strips and rectangles, each with a different texture, each with its own shade, sloping at different angles toward the rapid winter Dusk. And our houses, all seven, were scattered here like a part of nature, as if they had sprung up with the field boundaries, and so had the stream and little bridge across it—it all seemed carefully designed and positioned, perhaps by the very same hand that had been sketching.
Olga Tokarczuk (Drive Your Plow Over the Bones of the Dead)
Western Texas was just such a project: a grandiose scheme, germinated in secret, and unlikely to bear fruit for years. As laid out in private correspondence with Adolf Douai and other co-conspirators in Texas, the plan called for the "immigration of one or two thousand staunch and steadfast northern men, supporters of Freedom." These infiltrators should come quietly and in small groups at first, forming a "nucleus" in alliance with free- state Germans. Thereafter, migrants from the North and Europe would "pour in," aided by new railroad lines. Olmsted kept refining and expanding on this plan, long after his return from Texas. It became, in effect, a dry run for his career as a landscape architect, including blueprints for a string of planned communities across the frontier of the Cotton Kingdom. "I have a private grand political hobby which I must display to you," he disclosed to a Northern ally, in a letter filled with geometric shapes, lines, and arrows. The sketch was nothing less than a sweeping design for winning what Olmsted called the "war between the power of Slavery and of Freedom on this continent.
Tony Horwitz (Spying on the South: Travels with Frederick Law Olmsted in a Fractured Land)
Very often these luminous designs, rich in data, take the form of geometry. I speak from experience, having participated in more than seventy ayahuasca sessions since 2003, continuing to work with the brew for the valuable lessons it teaches me long after Supernatural was researched, written, and published. Here’s part of my account of the first time I drank ayahuasca in the Amazon: I raise the cup to my lips again. About two thirds of the measure that the shaman poured for me still remains, and now I drain it in one draught. The concentrated bittersweet foretaste, followed instantly by the aftertaste of rot and medicine, hits me like a punch in the stomach…. Feeling slightly apprehensive, I thank the shaman and wander back to my place on the floor…. Time passes but I don’t keep track of it. I’ve improvized a pillow from a rolled-up sleeping bag and I now find I’m swamped by a powerful feeling of weariness. My muscles involuntarily relax, I close my eyes, and without fanfare a parade of visions suddenly begins, visions that are at once geometrical and alive, visions of lights unlike any light I’ve ever seen—dark lights, a pulsing, swirling field of the deepest luminescent violets, of reds emerging out of night, of unearthly textures and colors, of solar systems revolving, of spiral galaxies on the move. Visions of nets and strange ladder-like structures. Visions in which I seem to see multiple square screens stacked side by side and on top of each other to form immense patterns of windows arranged in great banks. Though they manifest without sound in what seems to be a pristine and limitless vacuum, the images possess a most peculiar and particular quality. They feel like a drum-roll—as though their real function is to announce the arrival of something else.13 Other notes I made following my ayahuasca sessions in the Amazon refer to a “geometrical pulse,”14 to “a recurrence of the geometrical patterns,”15 to “a background of shifting geometrical patterns,”16 and to “complex interlaced patterns of geometry…. I zoom in for a closer view…. They’re rectangular, outlined in black, like windows. There’s a circle in the centre of each rectangle.”17
Graham Hancock (America Before: The Key to Earth's Lost Civilization)
Innovation itself can be viewed as a stack of interconnected elements. Consider a chair, for instance, which combines wood or other solid materials with a specific geometric shape designed for comfortable seating, primarily suited for humans. Adding cushions to the chair further enhances its innovation by increasing comfort.
Tiisetso Maloma (Innovate Like Elon Musk: Easily Participate in Innovation with Guidelines from Tesla and SpaceX: A Simple Understanding of First Principle Thinking and Vertical Integration)
A Solution Waiting for a Problem Engineers tend to develop tools for the pleasure of developing tools, not to induce nature to yield its secrets. It so happens that some of these tools bring us more knowledge; because of the silent evidence effect, we forget to consider tools that accomplished nothing but keeping engineers off the streets. Tools lead to unexpected discoveries, which themselves lead to other unexpected discoveries. But rarely do our tools seem to work as intended; it is only the engineer’s gusto and love for the building of toys and machines that contribute to the augmentation of our knowledge. Knowledge does not progress from tools designed to verify or help theories, but rather the opposite. The computer was not built to allow us to develop new, visual, geometric mathematics, but for some other purpose. It happened to allow us to discover mathematical objects that few cared to look for. Nor was the computer invented to let you chat with your friends in Siberia, but it has caused some long-distance relationships to bloom. As an essayist, I can attest that the Internet has helped me to spread my ideas by bypassing journalists. But this was not the stated purpose of its military designer. The laser is a prime illustration of a tool made for a given purpose (actually no real purpose) that then found applications that were not even dreamed of at the time. It was a typical “solution looking for a problem.” Among the early applications was the surgical stitching of detached retinas. Half a century later, The Economist asked Charles Townes, the alleged inventor of the laser, if he had had retinas on his mind. He had not. He was satisfying his desire to split light beams, and that was that. In fact, Townes’s colleagues teased him quite a bit about the irrelevance of his discovery. Yet just consider the effects of the laser in the world around you: compact disks, eyesight corrections, microsurgery, data storage and retrieval—all unforeseen applications of the technology.* We build toys. Some of those toys change the world. Keep
Nassim Nicholas Taleb (The Black Swan: The Impact of the Highly Improbable)
At the top, I put the camera's viewfinder to my eye and slowly turned, the way my grandmother had taught me. From every vantage point something remarkable filled the screen- clusters of wild red columbine, fallen boulders forming geometric designs against the wall, crusty green lichen gnawing on rocks, a Baltimore oriole popping from a thicket of brush, and, at my feet, a grasshopper clinging to a stem of purple aster. I could spend a day here and barely scratch the surface. The sun felt warm on my shoulders as I bent down to capture the blossoms of yellow star grass, the feathery purple petals of spotted knapweed, and the lacy wings of two yellow jackets as they alighted on tiny white blossoms of Labrador tea. By the time I finished taking photos of a monarch butterfly resting on milkweed, I realized an hour had passed.
Mary Simses (The Irresistible Blueberry Bakeshop & Cafe)
Way to understand the Founders’ vision and how it differed from other Enlightenment projects, specifically those of Revolutionary France ... one can be found in the differences between French and English gardens. For instance, the French gardens at Versailles, with their ornate, geometric, nature-defying designs, illustrate how the gardener imposes his vision on nature. Nature is brought to heel by reason. The classic English garden, on the other hand, was intended to let nature take its course, to let each bush, tree, and vegetable achieve its own ideal nature. The role of the English gardener was to protect his garden by weeding it, maintaining fences, and being ever watchful for predators and poachers. The American founders were gardeners, not engineers. The government of the Founders’ Constitution is more than merely a “night watchman state,” but not very much more. It creates the rules of the garden and the gardeners and little more. This does not mean the government cannot intervene in the society or the economy. It means that, when it does so, it should be to protect liberty, which Madison defined in Federalist No. 10 as “the first object of government”.
Jonah Goldberg (Suicide of the West: How the Rebirth of Tribalism, Populism, Nationalism, and Identity Politics is Destroying American Democracy)
FROM THE AIR there seems to be a system: recognizable designs, networks on the desert floor. Crosshatches of ridge and fissure. Lines that fan out from the source. The shadow of the airplane slips across basin and range. Frost forms between the plane’s double windows, each geometric crystal an argument for the stillborn beauty of pure math. Eventually the cut of a road appears, as deep as a fossil in shale. Unbound by destination, a road simply for the sake of moving, however slowly, through miles of nothing. Through the system. The first grid is the strangest, the geometry of better living etched onto the desert floor: identical houses of a planned community pleated around the nucleus of a swimming pool. One and then another, until the desert is paved under streets and scattered with countless pools like a deck of blue cards.
Nicole Krauss (Man Walks into a Room)
Understanding and applying the geometric properties of human space, particularly its patterns of connections, is essential. We, as urban designers, or as architects — or really, as designers of any kind — have to take this problem seriously. The art of our work lies in the way we elaborate and elucidate these deeper realities of life.
The gang of us sat around, and moved our thighs on the horsehair or on the split-bottom and stared down at the unpainted boards of the floor or at the design on the linoleum mat in the middle of the floor as though we were attending a funeral and owed the dead man some money. The linoleum mat was newish, and the colors were still bright—reds and tans and blues slick and varnished-looking—a kind of glib, impertinent, geometrical island floating there in the midst of the cornerless shadows and the acid mummy smell and the slow swell of Time which had fed into this room, day by day since long back, as into a landlocked sea where the fish were dead and the taste was brackish on your tongue. You had the feeling that if the Boss and Mr. Duffy and Sadie Burke and the photographer and the reporters and you and the rest got cuddled up together on that linoleum mat it would lift off the floor by magic and scoop you all up together and make a lazy preliminary circuit of the room and whisk right out the door or out the roof like the floating island of Gulliver or the carpet in the Arabian Nights and carry you off where you and it belonged and leave Old Man Stark sitting there as though nothing had happened, very clean and razor-nicked, with his gray hair plastered down damp, sitting there by the table where the big Bible and the lamp and the plush-bound album were under the blank, devouring gaze of the whiskered face in the big crayon portrait above the mantel shelf.
Robert Penn Warren (All The King's Men)
FDM (Fused Deposition Modeling) printers There is no hard and fast classification of the FDM 3D printers Cartesian 3D Printers: These are the most common type, operating on a straightforward Cartesian coordinate system with linear rails guiding movement along the X, Y, and Z axes. They are recognized for their simplicity and reliability. Delta 3D Printers: Delta printers employ a triangular configuration of three arms attached to moving carriages at the printer's apex. The print head hangs from these carriages, executing precise movements to craft the intended object. Delta printers excel in speed and consistency, particularly in producing tall items. CoreXY 3D Printers: CoreXY printers utilize a distinctive belt-driven mechanism to maneuver the print head across the X and Y axes. This design separates the print head's motion from that of the build platform, resulting in swifter and more accurate prints. Enthusiasts favor CoreXY printers for their speed and precision. Polar 3D Printers: Polar printers feature a circular build platform and a print head that moves both radially and vertically. This configuration facilitates continuous rotation of the print bed, enabling the creation of objects with intricate geometric shapes. Polar printers are commonly employed for crafting artistic and sculptural pieces. SCARA 3D Printers: SCARA (Selective Compliance Articulated Robot Arm) printers utilize a robotic arm mechanism to navigate the print head in a two-dimensional plane. This design offers rapid and precise movement, making SCARA printers ideal for producing small, intricate objects with exceptional accuracy. Each variant of FDM 3D printer has its own strengths and is tailored to diverse applications, spanning from hobbyist endeavors to industrial-scale manufacturing.
Locanam 3D Printing