Human Tripod Quotes

What I was suddenly aware of was the importance of their being whatever each of them was--cocky and contemptuous, or bothered and beaten--as long as it was something they'd come to in their own way: the importance of being human, in fact. The peace and harmony Uncle Ian and the others claimed to be handing out in fact was death, because without being yourself, an individual, you weren't really alive.

Walking back across the St-Esprit bridge, to the ghetto I'd instinctively gravitated toward, I mentally erected a more appropriate statue on the square. It would depict an unknown Sephardic Jew, kneeling over a stone tripod covered with crushed cacao beans destined for a cup of chocolate for one of the gentiles of Bayonne. It would be a symbolic piece, executed in smooth, chocolate-hued marble, and dedicated to all the other forgotten heroes--coffee-drinking Sufi dervishes, peyote-eating Native Americans, Mexican hemp-smokers--who, throughout history, have faced the wrath of all the sultans, drug czars, and Vatican clerics who have resorted to any spurious pretext to squelch one of the most venerable and misunderstood of human drives: the desire to escape, however briefly, everyday consciousness.

Humanity came to its gods by accepting the reality of the symbol, that is, it came to the reality of thought, which has made man lord of the earth. Devotion, as Schiller correctly conceived it, is a regressive movement of libido towards the primordial, a diving down into the source of the first beginnings. Out of this there rises, as an image of the incipient progressive movement, the symbol, which is a condensation of all the operative unconscious factors—“living form,” as Schiller says, and a God-image, as history proves. It is therefore no accident that he should seize on a divine image, the Juno Ludovici, as a paradigm. Goethe makes the divine images of Paris and Helen float up from the tripod of the Mothers99—on the one hand the rejuvenated pair, on the other the symbol of a process of inner union, which is precisely what Faust passionately craves for himself as the supreme inner atonement. This is clearly shown in the ensuing scene as also from the further course of the drama. As we can see from the example of Faust, the vision of the symbol is a pointer to the onward course of life, beckoning the libido towards a still distant goal—but a goal that henceforth will burn unquenchably within him, so that his life, kindled as by a flame, moves steadily towards the far-off beacon. This is the specific life-promoting significance of the symbol, and such, too, is the meaning and value of religious symbols. I am speaking, of course, not of symbols that are dead and stiffened by dogma, but of living symbols that rise up from the creative unconscious of the living man.

The traveling press had become the province of what one prickly print reporter (on his way to a buyout) called “the Human Tripods,” the young network embeds who’d never covered a campaign before and who had to capture everything the candidate did on video.

Hegel also pointed out that part of the content of the division of time into past, present, or future seemed able to transcend these temporal units because the parts in question were simply true. Time does not seem to matter to things like triangles or tripods because their qualities are either timeless or eternal. A future triangle would be like any triangle past or present. Truth, in other words, seems either to eradicate time or, at least, to take the temporality out of time. In the terms that Hegel began to establish, Kant’s disquieting claim about the injustice built into time, history, and progress began to look more surmountable. On one side, there was a world made up of moments, some present, some past, some future. The future would turn into the present and negate itself. The present would turn into the past but could still be available in the present. The passage of time and the endless stream of negations of negations built into the human ability to make choices and decisions would give rise to many diferent values, arrangements, and worldviews. Some, however, might turn out to be true. This was the hallmark of the other side of human history. If something was true, it would fall out of time and become, simply, timeless. On Kant’s terms, time and history were the problem. On Hegel’s terms, they were the solution.

Aristotle, around 350 BCE, raised the possibility of machines replacing humans: For if every instrument could accomplish its own work, obeying or anticipating the will of others, like the statues of Daedalus, or the tripods of Hephaestus, which, says the poet, “of their own accord entered the assembly of the Gods”; if, in like manner, the shuttle would weave and the plectrum touch the lyre without a hand to guide them, chief workmen would not want servants, nor masters slaves.

Well, you’ve heard my old nickname, haven’t you?” Rudy shook her head. “Murphy the human tripod.” Rudy’s jaw dropped as Murph wiggled his eyebrows. “Sadly, it’s because I used to have a camera holding fetish.

Moses and Hesiod, David and Sappho, Deborah and Tyrtaeus, Isaiah and Homer, Delphi and Jerusalem, Pythian tripod and Cherubin-sanctuary, prophets and oracles, psalms and elegy–for us, they all lie peacefully in one box, they all rest peacefully in one grave, they all have one and the same human origin, they all have one and the same significance–human, transitory and belonging to the past. All the clouds have dispersed. The tears and sighs of our fathers no longer fill our hearts but our libraries. The warmly pulsating hearts of our fathers have become our national literature, their fervent breath of life has become the dust of our bookshelves…. Do these departed spirits rejoice in the literary gratitude of our present generation? Whom do they recognize as their true heirs? Those who repeated their prayers but forgot their names, or those who forget their prayers but remember their names?

As a boy, I was fascinated by speed, the wild range of speeds in the world around me. People moved at different speeds; animals much more so. The wings of insects moved too fast to see, though one could judge their frequency by the tone they emitted—a hateful noise, a high E, with mosquitoes, or a lovely bass hum with the fat bumblebees that flew around the hollyhocks each summer. Our pet tortoise, which could take an entire day to cross the lawn, seemed to live in a different time frame altogether. But what then of the movement of plants? I would come down to the garden in the morning and find the hollyhocks a little higher, the roses more entwined around their trellis, but, however patient I was, I could never catch them moving. Experiences like this played a part in turning me to photography, which allowed me to alter the rate of motion, speed it up, slow it down, so I could see, adjusted to a human perceptual rate, details of movement or change otherwise beyond the power of the eye to register. Being fond of microscopes and telescopes (my older brothers, medical students and bird-watchers, kept theirs in the house), I thought of the slowing down or the speeding up of motion as a sort of temporal equivalent: slow motion as an enlargement, a microscopy of time, and speeded-up motion as a foreshortening, a telescopy of time. I experimented with photographing plants. Ferns, in particular, had many attractions for me, not least in their tightly wound crosiers or fiddleheads, tense with contained time, like watch springs, with the future all rolled up in them. So I would set my camera on a tripod in the garden and take photographs of fiddleheads at hourly intervals; I would develop the negatives, print them up, and bind a dozen or so prints together in a little flickbook. And then, as if by magic, I could see the fiddleheads unfurl like the curled-up paper trumpets one blew into at parties, taking a second or two for what, in real time, took a couple of days.

Talk of automatic machinery replacing human muscle power goes back to the ancient world. The Iliad, Homer’s eighth-century BCE epic, describes a driverless vehicle, the tripod of Hephaestus, that navigates on its own. Homer refers to the vehicle as “automatic.”1 Aristotle, around 350 BCE, raised the possibility of machines replacing humans: For if every instrument could accomplish its own work, obeying or anticipating the will of others, like the statues of Daedalus, or the tripods of Hephaestus, which, says the poet, “of their own accord entered the assembly of the Gods”; if, in like manner, the shuttle would weave and the plectrum touch the lyre without a hand to guide them, chief workmen would not want servants, nor masters slaves.