M C Escher Quotes

Only those who attempt the absurd...will achieve the impossible. I think ...I think it's in my basement...Let me go upstairs and check.

Are you really sure that a floor can't also be a ceiling?

I don't use drugs, my dreams are frightening enough.

We adore chaos because we love to produce order.

Or are "being" and "having" thoroughly inaccurate verbs in the twisted skein of desire, where having someone's body to touch and being that someone we're longing to touch are one and the same, just opposite banks on a river that passes from us to them, back to us and over to them again in this perpetual circuit where the chambers of the heart, like the trapdoors of desire, and the wormholes of time, and the false-bottomed drawer we call identity share a beguiling logic according to which the shortest distance between real life and the life unlived, between who we are and what we want, is a twisted staircase designed with the impish cruelty of M. C. Escher.

What I give form to in daylight is only one per cent of what I have seen in darkness.

He who wonders discovers that this in itself is wonderful.

So let us then try to climb the mountain, not by stepping on what is below us, but to pull us up at what is above us, for my part at the stars; amen.

My work is a game, a very serious game.

At moments of great enthusiasm it seems to me that no one in the world has ever made something this beautiful and important.

Hands, are the most honest part of the human body, they cannot lie as laughing eyes and the mouth can.

Tonight feels like a board game co-designed by M. C. Escher on a bender and Stephen King in a fever.

We do not know space. We do not see it, we do not hear it, we do not feel it. We are standing in the middle of it, we ourselves are part of it, but we know nothing about it.

My mind is more like a roller coaster inside a labyrinth buried in an M. C. Escher painting that is riding on another roller coaster.

Did I want to be like him? Did I want to be him? Or did I just want to have him? Or are “being” and “having” thoroughly inaccurate verbs in the twisted skein of desire, where having someone’s body to touch and being that someone we’re longing to touch are one and the same, just opposite banks on a river that passes from us to them, back to us and over to them again in this perpetual circuit where the chambers of the heart, like the trapdoors of desire, and the wormholes of time, and the false-bottomed drawer we call identity share a beguiling logic according to which the shortest distance between real life and the life unlived, between who we are and what we want, is a twisted staircase designed with the impish cruelty of M. C. Escher.

Did I want to be like him? Did I want to be him? Or did I just want to have him? Or are "being" and "having" thoroughly inaccurate verbs in the twisted skein of desire, where having someone's body to touch and being that someone we're longing to touch are one and the same, just opposite banks on a river that passes from us to them, back to us and over to them again in this perpetual circuit where the chambers of the heart, like the trapdoors of desire, and the wormholes of time, and the false-bottomed drawer we call identity share a beguiling logic according to which the shortest distance between real life and the life unlived, between who we are and what we want, is a twisted staircase designed with the impish cruelty of M.C. Escher.

Only those who attempt the absurd will achieve the impossible. —M. C. ESCHER

There is something in such laws that takes the breath away. They are not discoveries or inventions of the human mind, but exist independently of us. In a moment of clarity, one can at most discover that they are there and take them into account. Long before there were people on the earth, crystals were already growing in the earth's crust. On one day or another, a human being first came across such a sparkling morsel of regularity lying on the ground or hit one with his stone tool and it broke off and fell at his feet, and he picked it up and regarded it in his open hand, and he was amazed.

«It is impossible for the inhabitants of different worlds to walk or sit or stand on the same floor, because they have differing conceptions of what is horizontal and what is vertical. Yet they may well share the use of the same staircase. On the top staircase illustrated here, two people are moving side by side and in the same direction, and yet one of them is going downstairs and the other upstairs. Contact between them is out of the question because they live in different worlds and therefore can have no knowledge of each other's existence.»

From the advertisement, his eyes moved up the skywalk, the zigzagging metal bridge that connected various locations in the neighborhood to the Banda train station. Behind the metal grid, men moved back and forth. Tommy Sir's eyes grew tired. He felt that up there, on that seemingly never-ending bridge, shadowy figures were moving toward obscure destinations, possibly only to return to their point of origin, like in an architectural sketch of infinity by M.C. Escher. Hell is a choice, made daily and by millions, and breathing slowly and watching this aerial cage, Tommy Sir saw Mumbai, minute by minute, unbecome and become hell.

I want to find happiness in the tiniest of things - a minute moss plant, 2 cm across, on a rock - and I want to try to do what I've been wanting to do for so long, that is, to copy these infinitesimally small things as precisely as possible and to be aware of their size.

She knew for a fact that being left-handed automatically made you special. Marie Curie, Albert Einstein, Linus Pauling, and Albert Schweitzer were all left-handed. Of course, no believable scientific theory could rest on such a small group of people. When Lindsay probed further, however, more proof emerged. Michelangelo, Leonardo da Vinci, M.C. Escher, Mark Twain, Hans Christian Andersen, Lewis Carrol, H.G. Wells, Eudora Welty, and Jessamyn West- all lefties. The lack of women in her research had initially bothered her until she mentioned it to Allegra. "Chalk that up to male chauvinism," she said. "Lots of left-handed women were geniuses. Janis Joplin was. All it means is that the macho-man researchers didn't bother asking.

It folded back on itself like something that M. C. Escher, had he been given to hard nights on the town, which it is no part of this narrative’s purpose to suggest was the case, though it is sometimes hard, looking at his pictures, particularly the one with all the awkward steps, not to wonder, might have dreamed up after having been on one, for the little chandeliers which should have been hanging inside were on the outside pointing up.

M.C. Escher called. He wanted to sell me some upside-down stairs. I said I already have a few, and then I got him to buy an upwalking slinky.

an open-plan multilayered interior like something M. C. Escher might have come up with after bingeing on too many copies of Architectural Digest,

M. C. Escher

For the burglar, every building is infinite, endlessly weaving back into itself through meshed gears made of fire escapes and secondary stairways, window frames and screened-in porches, pet doors and ventilation shafts, everything interpenetrating, everything mixed together in a fantastic knot. Rooms and halls coil together like dragons inside of dragons or snakes eating their own tails, rooms opening onto every other room in the city. For the burglar, doors are everywhere. Where we see locks and alarms, they see M. C. Escher.

I was peculiarly moved by the angelic life growing on the ground. I have no idea what sorts of flowers grow there in profusion -- I don’t know their names. But I was so moved that I sat down, trying to flatten as few grasses and plants as possible with my clumsy backside... This brought my head quite close to the silent, joyful, exuberant, celestial children of heaven. They are so humble, so quiet, and they do not mind if you observe them, if you think they are beautiful... Nor do they mind if you don’t look at all -- they just stand there together all by themselves in the huge stretch of woods and grow and bloom just the same, peacefully, joyfully, and silently. I am absolutely sure that they know nothing of the swinish and filthy behaviour of people in their dirty stinking houses -- they know only about heaven.

When the sea is calm, the landscape (seascape) seems simple and even monotonous, sometimes with a distant, sometimes with a close coastline, but usually with no land in sight at all. You feel 'free', not only free of care, but also free of the solidity of the earth's crust. It is a wonderful sensation, feeling the liquidity of the water under the ship. This salutary freedom is constantly present, on deck by day, in bed at nights. The movements of the ship vary from a gentle rocking to swinging and hurtling; you are never motionless while at sea. Then you start to observe and assimilate all these natural phenomena surrounding you: the infinite variety of the waves and the swell of the sea, and for the first time in ages you look again at the heavenly bodies, the sun, the moon and the stars, and you see the living creatures in and over the sea, the fish and the birds.

Did I want to be like him? Did I want to be him? Or did I just want to have him? Or are "being" and "having" thoroughly inaccurate verbs in the twisted skein of desire, where having someone's body to touch and being that someone we're longing to touch are one and the same, just opposite banks on a river that passes from us to them, back to us and over to them again in this perpetual circuit where the chambers of the heart, like the trapdoors of desire, and the wormholes of time, and the false-bottomed drawer we call identity share a beguiling logic according to which the shortest distance between real life and the life unlived, between who we are and what we want, is a twisted staircase designes with the impish creulty of M.C. Escher.

Baarn, 5 July 1964: 'On the train to Utrecht I was suddenly overwhelmed and enormously moved by a sky full of clouds at different levels. I experienced a sense of space and three-dimensionality such as I'd not experienced for a long time. It's possible to suddenly become aware of these things, even in an overpopulated country like Holland. Provided that you are looking up, you'll suddenly see that timeless and unbounded eternity. Do you think it silly, or can you imagine what I mean?

His house was certainly peculiar, and since this was the first thing that Fenchurch and Arthur had encountered it would help to know what it was like. It was like this: It was inside out. Actually inside out, to the extent that they had had to park on the carpet. All along what one would normally call the outer wall, which was decorated in a tasteful interior-designed pink, were bookshelves, also a couple of those odd three-legged tables with semicircular tops which stand in such a way as to suggest that someone just dropped the wall straight through them, and pictures which were clearly designed to soothe. Where it got really odd was the roof. It folded back on itself like something that M. C. Escher, had he been given to hard nights on the town, which it is no part of this narrative’s purpose to suggest was the case, though it is sometimes hard, looking at his pictures, particularly the one with all the awkward steps, not to wonder, might have dreamed up after having been on one, for the little chandeliers which should have been hanging inside were on the outside pointing up. Confusing. The sign above the front door said “Come Outside,” and so, nervously, they had. Inside, of course, was where the Outside was. Rough brickwork, nicely done pointing, guttering in good repair, a garden path, a couple of small trees, some rooms leading off. And the inner walls stretched down, folded curiously, and opened at the end as if, by an optical illusion which would have had M. C. Escher frowning and wondering how it was done, to enclose the Pacific Ocean itself. “Hello,” said John Watson, Wonko the Sane. Good, they thought to themselves, “hello” is something we can cope with. “Hello,” they said, and all, surprisingly, was smiles.

I should like to end this description of the stars with the Pleiades, which I once saw rising up out of the sea. When and where in Holland is the atmosphere ever so free from dust and mist that you can see the stars clearly right down to the horizon? One evening I saw a point of light appearing on the horizon, followed a moment later by another one. I thought they were the lights of a ship sailing by in the distance. But then a third light appeared, and a fourth, and finally there were seven altogether; it was then that I recognised the Pleiades, making for the heavens in full sail, like a ghost ship.

Or are "being" and "having" thoroughly inaccurate verbs in the twisted skein of desire, where having someone's body to touch and being that someone we're longing to touch are one and the same, just opposite banks on a river that passes from us to them, back to us and over to them again in this perpetual circuit where the chambers of desire, and the wormholes of time, and the false-bottomed drawer we call identity share a beguiling logic according to which the shortest distance between real life and the life unlived, between who we are and what we want, is a twisted staircase designed with impish cruelty of M. C. Escher.

are “being” and “having” thoroughly inaccurate verbs in the twisted skein of desire, where having someone’s body to touch and being that someone we’re longing to touch are one and the same, just opposite banks on a river that passes from us to them, back to us and over to them again in this perpetual circuit where the chambers of the heart, like the trapdoors of desire, and the wormholes of time, and the false-bottomed drawer we call identity share a beguiling logic according to which the shortest distance between real life and the life unlived, between who we are and what we want, is a twisted staircase designed with the impish cruelty of M. C. Escher.

Did I want to be like him? Did I want to be him? Or did I just want to have him? Or are "being" and "having" thoroughly inaccurate verbs in the twisted skein of desire, where having someone's body to touch and being that someone we're longing to touch are one and the same, just opposite banks on a river that passes from us to them, back to us and over to them again in this perpetual circuit where the chambers of the heart, like the trapdoors of desire, and the wormholes of time, and the false-bottomed drawer we call identity share a beguiling logic according to which the shortest distance between real life and the life unlived, between who we are and what we want, is a twisted stair-case designed with the impish cruelty of M.C. Escher.

Sometimes, just before I fall asleep at night, I have a beautiful vision. In my imagination I see the earth floating like an enormous orange, stately and still, in the pure emptiness surrounding her. I see her slowly rotating, always lit up and warmed on one side by her mother, the sun. Ribbons and shreds of cloud float around her, and between these the seas and the multi-coloured continents, with their humid plains and snowy mountaintops, sparkle and shimmer. And I see the hot, yellow deserts and the frozen polar icecaps. I am so far removed from the beautiful earth that the people scurrying around in their cities are of course no longer visible. Whether this is such a good thing as it seems to be at the time is open to question. But it is a fact that my vision is so beautiful, so restful and so full of peace that I usually fall asleep soon afterwards. That is why this also seems to be the right moment to end my story, at least for today,

Whatever the mechanism, this influence by future emotional rewards would be the basis of the intuitive guidance system that takes over whenever we follow our gut or whenever we act skillfully and instinctively in any domain. A premonition or hunch or creative inspiration that pays off in a confirmatory action is part of a reward loop, entraining the attentional faculty on those meaningful experiences coming down the pike. Engaged flow states may not only open the door to precognition by focusing the senses and busying the critical, conscious mind with other matters, they may also condition the precognitive apparatus, providing constant payoffs that propel us forward to the next reward in an ongoing chain—like feeding sardines to the dolphin of intuition.45 In this model, a presponsive behavior needs to be seen as one half of a two-part system, the other half being our everyday actions and experiences unfolding in linear time that serve to confirm it and thus give it meaning—for instance, Norman Mailer’s encounter with the New York Times headline about the spy downstairs. The crucial role played by confirmation is part of what makes the whole topic suspect for skeptics and even for many parapsychologists open to other forms of ESP. Since hindsight is biased by a kind of selection, it is difficult or impossible in many cases to prove that ostensible precognition is not either memory error or “just coincidence.” The difficulties go even deeper, in fact. As we will see later, a retrospective tunnel vision on events, especially after surviving some trauma—ranging from the most extreme, death and disaster, to minor chaotic upheavals like reading about a plane crash or a close brush with international espionage in the newspaper—seems to be precisely what people precognize or pre-sense in their future. We precognize our highly biased hindsight, taking us deep into a kind of recursive or fractal, M. C. Escher territory. This fractal quality, coupled with our ignorance of precognitive or presentimental processes working in our lives, creates the causal circularity or time loops I have mentioned. Such loops may be a universal feature of a world that includes precognitive creatures who are unaware of their precognition.

First, practice play can exercise and develop any thinking tool by enhancing skill through practice. The teenage Richard Feynman play-practiced the visualization of four-dimensional figures simply for the fun of mastering such problems. Fleming enhanced his technical skill and knowledge through his bacterial paintings. M. C. Escher mastered his pattern recognition and pattern forming skills by finding images in wallpaper.

It is human nature to want to exchange ideas, and I believe that, at bottom, every artist wants no more than to tell the world what he has to say. I have sometimes heard painters say that they paint "for themselves": but I think they would soon have painted their fill if they lived on a desert island. The primary purpose of all art forms, whether it’s music, literature, or the visual arts, is to say something to the outside world; in other words, to make a personal thought, a striking idea, an inner emotion perceptible to other people’s senses in such a way that there is no uncertainty about the maker's intentions.

My mind is more like a roller coaster inside a labyrinth buried in an M. C. Escher painting that is riding on another roller coaster.” Xander shrugged. “But my mouth is a steel trap. Just ask me about all the secrets I’m keeping.” “What secrets are you keeping?” Max asked obligingly. “I can’t tell you!” Xander triumphantly dug his fork into the pie.

I want to be the guy who the guy you admire admires. I hope his name is Guy, because I admire M.C. Escher.

Scientists are fascinated by Escher's work because they recognize in it not only a concept of the world with which they are familiar but also a similar attitude toward that world. For them as for him, the plurality of the world signifies neither absurdity nor chaos but a challenge to look for new logical relationships between phenomena.

Beijing maps featured cloverleaf exchanges that could have been designed by M. C. Escher.

This might have escaped your attention, but I happen to excel at keeping secrets! I have a mouth like a steel trap." Max snorted. "Isn't the expression 'a mind like a steel trap?" "My mind is more like a roller coaster inside a labyrinth buried in an M. C. Escher painting that is riding on another roller coaster." Xander shrugged.

Vittoria was watching him. “Do you believe in God, Mr. Langdon?” The question startled him. The earnestness in Vittoria’s voice was even more disarming than the inquiry. Do I believe in God? He had hoped for a lighter topic of conversation to pass the trip. A spiritual conundrum, Langdon thought. That’s what my friends call me. Although he studied religion for years, Langdon was not a religious man. He respected the power of faith, the benevolence of churches, the strength religion gave so many people . . . and yet, for him, the intellectual suspension of disbelief that was imperative if one were truly going to “believe” had always proved too big an obstacle for his academic mind. “I want to believe,” he heard himself say. Vittoria’s reply carried no judgment or challenge. “So why don’t you?” He chuckled. “Well, it’s not that easy. Having faith requires leaps of faith, cerebral acceptance of miracles—immaculate conceptions and divine interventions. And then there are the codes of conduct. The Bible, the Koran, Buddhist scripture . . . they all carry similar requirements—and similar penalties. They claim that if I don’t live by a specific code I will go to hell. I can’t imagine a God who would rule that way.” “I hope you don’t let your students dodge questions that shamelessly.” The comment caught him off guard. “What?” “Mr. Langdon, I did not ask if you believe what man says about God. I asked if you believed in God. There is a difference. Holy scripture is stories . . . legends and history of man’s quest to understand his own need for meaning. I am not asking you to pass judgment on literature. I am asking if you believe in God. When you lie out under the stars, do you sense the divine? Do you feel in your gut that you are staring up at the work of God’s hand?” Langdon took a long moment to consider it. “I’m prying,” Vittoria apologized. “No, I just . . .” “Certainly you must debate issues of faith with your classes.” “Endlessly.” “And you play devil’s advocate, I imagine. Always fueling the debate.” Langdon smiled. “You must be a teacher too.” “No, but I learned from a master. My father could argue two sides of a Möbius Strip.” Langdon laughed, picturing the artful crafting of a Möbius Strip—a twisted ring of paper, which technically possessed only one side. Langdon had first seen the single-sided shape in the artwork of M. C. Escher.

Life to Maggie had always been the psychological equivalent of an M. C. Escher print. She could always see the metamorphic possibilities in a situation, the distortions, the improbabilities.

I’d had a series of overlapping epiphanies, not all of which were original ideas, but as far as I knew, they had never been expressed in a culinary context before. The first was that the best forms of creativity are born from paradox. Think of M. C. Escher’s paintings of staircases leading nowhere and hands drawing one another. Or René Magritte’s The Treachery of Images, in which a painting of a pipe is accompanied with a subtitle: Ceci n’est pas une pipe. This is not a pipe.

It all has a Möbius-strip, M. C. Escher, WTF quality, a disorienting tour de force in which Lockwood runs circles around the audience and prior cinematic verities.

the best forms of creativity are born from paradox. Think of M. C. Escher’s paintings of staircases leading nowhere and hands drawing one another.

Coxeter also wrote a long mathematical explanation in his letter, which was beyond Escher's comprehension, as he remarked in a letter to George and Corrie. Baarn, 28 May 1960: 'I had an enthusiastic letter from Coexter about my coloured fish, which I sent him. Three pages of explanation of what I actually did... It's a pity that I understand nothing, absolutely nothing of it...

He turned them into real-life versions of an M. C. Escher drawing, automating them to the rafters, with blinking lights on aisles and shelves to guide human workers to the right products, and conveyor belts that ran into and out of massive machines, called Crisplants, that took products from the conveyors and scanned and sorted them into customer orders to be packaged and shipped. These facilities, Wright decreed, would be called not warehouses but distribution centers, as they were in Walmart’s internal lexicon.

On a maze of walls hang lithographs, woodblocks, sketches, and tessellations of impossible symmetry. Dad isn’t a connoisseur of modern art but he can’t resist the mathematical genius of M. C. Escher. The tessellations are his favorite, especially the one called Day and Night, where the negative space of white geese becomes black geese flying in the opposite direction. The white flock fly into a night sky, the black into day.