Mechanical Engineer Love Quotes

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If You'r a Mechanical Engineer Don't Feel So Proud, Because You Can Repair Everything Except Your Own Heart"!!!
A.P.J. Abdul Kalam
It was not woman's fault, nor even love's fault, nor the fault of sex. The fault lay there, out there, in those evil electric lights and diabolical rattling of engines. There, in the world of the mechanical greedy, greedy mechanism and mechanised greed, sparkling with lights and gushing hot metal and roaring with traffic, there lay the vast evil thing, ready to destroy whatever did not conform. Soon it would destroy the wood, and the bluebells would spring no more. All vulnerable things must perish under the rolling and running of iron.
D.H. Lawrence (Lady Chatterley's Lover)
Every so often I'll hear writers say that there are other writers they would read if for no other reason than to marvel at the skill with which they can put together the sort of sentences that move us to read closely, to disassemble and reassemble them, much the way a mechanic might learn about an engine by taking it apart.
Francine Prose (Reading Like a Writer: A Guide for People Who Love Books and for Those Who Want to Write Them)
What is grief for? Mechanical explanation: Pain directs my attention to an injury or insult and subsides once the injury or insult is mended or neutralized. The pain of loss subsides if I replace what I lost or adjust permanently to accommodate the loss. Evolutionary explanation: Grief is a byproduct of attachment in social animals. The grief of loss teaches me to prevent potential loss of kin. Religious explanation: God, the engineer of all that happens, knows best. All life is but a gauntlet ere I live again in heaven. Real explanation: Love abides. There is no other solace. •
Sarah Manguso (The Guardians: An Elegy)
Strange, Eliot thinks, that the androids take to religion. After all they aren’t plagued by the unknowns that draw heartbeats to temples, bibles, and holy men. There is no mystery as to who created the bots, no absence of meaning for their existence as there is with men. If a bot wants to know why he was put here, all he has to do is ask. The engineers who created them, men like Eliot’s father, could tell them, yes, I know exactly why you’re here. You’re here to shovel, to mine, to gather, to build, to plant, to harvest, to fish, to sew, to stitch, to mend, to weld, to solder, to cook, to slaughter, to render, to load, to carry, to steer, to fight, to clean – to serve.
Judd Trichter (Love in the Age of Mechanical Reproduction)
It was not woman's fault, nor even love's fault, nor the fault of sex. The fault lay there, out there, in those evil electric lights and diabolical rattlings of engines. There, in the world of the mechanical greedy, greedy mechanism and mechanized greed, sparkling with lights and gushing hot metal and roaring with traffic, there lay the vast evil thing, ready to destroy whatever did not conform. Soon it would destroy the wood, and the bluebells would spring no more. All vulnerable things must perish under the rolling and running of iron.
D.H. Lawrence (Lady Chatterley's Lover)
It was not woman’s fault, nor even love’s fault, nor the fault of sex. The fault lay there, out there, in those evil electric lights and diabolical rattlings of engines. There, in the world of the mechanical greedy, greedy mechanism and mechanized greed, sparkling with lights and gushing hot metal and roaring with traffic, there lay the vast evil thing, ready to destroy whatever did not conform. Soon it would destroy the wood, and the bluebells would spring no more. All vulnerable things must perish under the rolling and running of iron.
D.H. Lawrence (Lady Chatterley's Lover)
It was not woman’s fault, nor even love’s fault, nor the fault of sex. The fault lay there, out there, in those evil electric lights and diabolical rattlings of engines. There, in the world of the mechanical greedy, greedy mechanism and mechanised greed, sparkling with lights and gushing hot metal and roaring with traffic, there lay the vast evil thing, ready to destroy whatever did not conform. Soon it would destroy the wood, and the blue-bells would spring no more. All vulnerable things must perish under the rolling and running of iron.
D.H. Lawrence (Lady Chatterley's Lover)
Let the center be your home: To be centered is considered desirable; when they feel distracted or scattered, people often say, “I lost my center.” But if there is no person inside your head, if the ego’s sense of I, me, mine is illusory, where’s the center? Paradoxically, the center is everywhere. It is the open space that has no boundaries. Instead of thinking of your center as a defined spot—the way people point to their hearts as the seat of the soul—be at the center of experience. Experience isn’t a place; it’s a focus of attention. You can live there, at the still point around which everything revolves. To be off center is to lose focus, to look away from experience or block it out. To be centered is like saying “I want to find my home in creation.” You relax into the rhythm of your own life, which sets the stage for meeting yourself at a deeper level. You can’t summon the silent witness, but you can place yourself close to it by refusing to get lost in your own creation. When I find myself being overshadowed by anything, I can fall back on a few simple steps: • I say to myself, “This situation may be shaking me, but I am more than any situation.” • I take a deep breath and focus my attention on whatever my body is feeling. • I step back and see myself as another person would see me (preferably the person whom I am resisting or reacting to). • I realize that my emotions are not reliable guides to what is permanent and real. They are momentary reactions, and most likely they are born of habit. • If I am about to burst out with uncontrollable reactions, I walk away. As you can see, I don’t try to feel better, to be more positive, to come from love, or to change the state I’m in. We are all framed by personalities and driven by egos. Ego personalities are trained by habit and by the past; they run along like self-propelled engines. If you can observe the mechanism at work without getting wrapped up in it, you will find that you possess a second perspective, one that is always calm, alert, detached, tuned in but not overshadowed. That second place is your center. It isn’t a place at all but a close encounter with the silent witness.
Deepak Chopra (The Book of Secrets: Unlocking the Hidden Dimensions of Your Life)
As the physicist Richard Feynman once observed, “[Quantum mechanics] describes nature as absurd from the point of view of common sense. And it fully agrees with experiment. So I hope you can accept nature as She is— absurd.” Quantum mechanics seems to study that which doesn’t exist—but nevertheless proves true. It works. In the decades to come, quantum physics would open the door to a host of practical inventions that now define the digital age, including the modern personal computer, nuclear power, genetic engineering, and laser technology (from which we get such consumer products as the CD player and the bar-code reader commonly used in supermarkets). If the youthful Oppenheimer loved quantum mechanics for the sheer beauty of its abstractions, it was nevertheless a theory that would soon spawn a revolution in how human beings relate to the world.
Kai Bird (American Prometheus)
C. P. Snow was right about the need to respect both of “the two cultures,” science and the humanities. But even more important today is understanding how they intersect. Those who helped lead the technology revolution were people in the tradition of Ada, who could combine science and the humanities. From her father came a poetic streak and from her mother a mathematical one, and it instilled in her a love for what she called “poetical science.” Her father defended the Luddites who smashed mechanical looms, but Ada loved how punch cards instructed those looms to weave beautiful patterns, and she envisioned how this wondrous combination of art and technology could be manifest in computers. (...) This innovation will come from people who are able to link beauty to engineering, humanity to technology, and poetry to processors. In other words, it will come from the spiritual heirs of Ada Lovelace, creators who can flourish where the arts intersect with the sciences and who have a rebellious sense of wonder that opens them to the beauty of both.
Walter Isaacson (The Innovators: How a Group of Hackers, Geniuses and Geeks Created the Digital Revolution)
This once-proud country of ours is falling into the hands of the wrong people,” said Jones. He nodded, and so did Father Keeley and the Black Fuehrer. “And, before it gets back on the right track,” said Jones, “some heads are going to roll.” I have never seen a more sublime demonstration of the totalitarian mind, a mind which might be likened unto a system of gears whose teeth have been filed off at random. Such a snaggle-toothed thought machine, driven by a standard or even a substandard libido, whirls with the jerky, noisy, gaudy pointlessness of a cuckoo clock in Hell. The boss G-man concluded wrongly that there were no teeth on the gears in the mind of Jones. “You’re completely crazy,” he said. Jones wasn’t completely crazy. The dismaying thing about the classic totalitarian mind is that any given gear, though mutilated, will have at its circumference unbroken sequences of teeth that are immaculately maintained, that are exquisitely machined. Hence the cuckoo clock in Hell—keeping perfect time for eight minutes and thirty-three seconds, jumping ahead fourteen minutes, keeping perfect time for six seconds, jumping ahead two seconds, keeping perfect time for two hours and one second, then jumping ahead a year. The missing teeth, of course, are simple, obvious truths, truths available and comprehensible even to ten-year-olds, in most cases. The willful filing off of gear teeth, the willful doing without certain obvious pieces of information— That was how a household as contradictory as one composed of Jones, Father Keeley, Vice-Bundesfuehrer Krapptauer, and the Black Fuehrer could exist in relative harmony— That was how my father-in-law could contain in one mind an indifference toward slave women and love for a blue vase— That was how Rudolf Hoess, Commandant of Auschwitz, could alternate over the loudspeakers of Auschwitz great music and calls for corpse-carriers— That was how Nazi Germany could sense no important differences between civilization and hydrophobia— That is the closest I can come to explaining the legions, the nations of lunatics I’ve seen in my time. And for me to attempt such a mechanical explanation is perhaps a reflection of the father whose son I was. Am. When I pause to think about it, which is rarely, I am, after all, the son of an engineer. Since there is no one else to praise me, I will praise myself—will say that I have never tampered with a single tooth in my thought machine, such as it is. There are teeth missing, God knows—some I was born without, teeth that will never grow. And other teeth have been stripped by the clutchless shifts of history— But never have I willfully destroyed a tooth on a gear of my thinking machine. Never have I said to myself, “This fact I can do without.” Howard W. Campbell, Jr., praises himself. There’s life in the old boy yet! And, where there’s life— There is life.
Kurt Vonnegut Jr. (Mother Night)
What economists and political scientists today call the “rational choice of individuals,” but what Smith called “the individual pursuit of happiness,” leads according to this view in a mechanical way to general welfare. As Alexander Pope in his Essay on Man put it: “true Self Love and Social are the same.” While this is the foundation of liberal capitalism, Marx’s dialectical materialism is not different in its selection of the economy as the prime mover. In this way the economy becomes the most important purpose of society. Fortunately, the economy has laws of causation, or, at least, that is what economists would like us to believe. Statistics are gathered to provide an objectified view of reality that enables social engineering. The individual and the collective are simultaneously put in an economic framework that is secular not in the sense that it is nonreligious, since individuals can rationally pursue religious ends, but in the sense that a God-given order of society has been replaced by an order that is constantly produced by homo economicus” (p. 41).
Peter van der Veer (The Modern Spirit of Asia: The Spiritual and the Secular in China and India)
Age: 11 Height: 5’5 Favourite animal: Wolf   Chris loves to learn. When he’s not reading books explaining how planes work or discovering what lives at the bottom of the ocean, he’s watching the Discovery Channel on TV to learn about all the world’s animal and plant life. How things work is one of Chris’ main interests, and for this reason he has a special appreciation for electrical and mechanical things, everything from computers to trains. He considers himself a train expert and one day dreams of riding on famous trains, such as the Orient Express and the Trans-Siberian Railway.   Chris dreams of one day being a great engineer, like Isambard Kingdom Brunel. He knows this will involve going to university, so he studies hard at school. Beatrix is his study partner, and when they aren’t solving mysteries in the Cluefinders Club they can be found in the garden poring over text books. Like Ben, he loves to read comic books, and his favourite super-hero is Iron Man, who is a genius engineer and businessman. Chris says, “One day I’ll invent a new form of transport that will revolutionise world travel!”    
Ken T. Seth (The Case of the Vanishing Bully (The Cluefinder Club #1))
The Very Difference Between Game Design & 3D Game Development You Always Want to Know Getting into the gaming industry is a dream for many people. In addition to the fact that this area is always relevant, dynamic, alive and impenetrable for problems inherent in other areas, it will become a real paradise for those who love games. Turning your hobby into work is probably the best thing that can happen in your career. What is Game Designing? A 3D Game Designer is a creative person who dreams up the overall design of a video game. Game design is a large field, drawing from the fields of computer science/programming, creative writing, and graphic design. Game designers take the creative lead in imagining and bringing to life video game worlds. Game designers discuss the following issues: • the target audience; • genre; • main plot; • alternative scenarios; • maps; • levels; • characters; • game process; • user interface; • rules and restrictions; • the primary and secondary goals, etc Without this information, further work on the game is impossible. Once the concept has been chosen, the game designers work closely with the artists and developers to ensure that the overall picture of the game is harmonized and that the implementation is in line with the original ideas. As such, the skills of a game designer are drawn from the fields of computer science and programming, creative writing and graphic design. Game designers take the creative lead in imagining and bringing to life video game stories, characters, gameplay, rules, interfaces, dialogue and environments. A game designer's role on a game development outsourcing team differs from the specialized roles of graphic designers and programmers. Graphic designers and game programmers have specific tasks to accomplish in the division of labor that goes into creating a video game, international students can major in those specific disciplines if desired. The game designer generates ideas and concepts for games. They define the layout and overall functionality of the Game Animation Studio. In short, they are responsible for creating the vision for the game. These geniuses produce innovative ideas for games. Game designers should have a knack for extraordinary and creative vision so that their game may survive in the competitive market. The field of game design is always in need of artists of all types who may be drawn to multiple art forms, original game design and computer animation. The game designer is the artist who uses his/her talents to bring the characters and plot to life. Who is a Game Development? Games developers use their creative talent and skills to create the games that keep us glued to the screen for hours and even days or make us play them by erasing every other thought from our minds. They are responsible for turning the vision into a reality, i.e., they convert the ideas or design into the actual game. Thus, they convert all the layouts and sketches into the actual product. It may involve concept generation, design, build, test and release. While you create a game, it is important to think about the game mechanics, rewards, player engagement and level design. 3D Game development involves bringing these ideas to life. Developers take games from the conceptual phase, through *development*, and into reality. The Game Development Services side of games typically involves the programming, coding, rendering, engineering, and testing of the game (and all of its elements: sound, levels, characters, and other assets, etc.). Here are the following stages of 3D Game Development Service, and the best ways of learning game development (step by step). • High Concept • Pitch • Concept • Game Design Document • Prototype • Production • Design • Level Creation • Programming
For his inability to control his movements, WE temporarily exclude man as a subject for film. Our path leads through the poetry of machines, from the bungling citizen to the perfect electric man. In revealing the machine's soul, in causing the worker to love his workbench, the peasant his tractor, the engineer his engine— we introduce creative joy into all mechanical labor, we bring people into closer kinship with machines, we foster new people. The new man, free of unwieldiness and clumsiness, will have the light, precise movements of machines, and he will be the gratifying subject of our films.
Dziga Vertov (Kino-Eye)
He’s a professor of mechanical and biomedical engineering at the local university. He is somewhat renowned in his field. This is what I’m told by his adoring colleagues and students at boring cocktail parties where I play the part of devoted wife. They always marvel at what it must be like to be married to the great Dr. David Foster III. They imagine, I think, that our nights are filled with romantic whisperings about fluid dynamics and heat transfer or the power of biomechanical joints. They forget that I am a writer and maintain only a cursory understanding of and interest in David’s work—just enough to assure him that my love is true.
Roxane Gay (Difficult Women)
Men stumbled away toward illusions in the brutal light. Men thought they were home, walking into their front doors, hugging their wives, making love. Still they walked. Men were swimming. Men were killing Mendez. Men were on the beach, collecting shells and watching their children splash. Their women stood naked before them, soft bellies, hands on ribs, breasts. Men hid their faces from a furious God. And they walked. A voice was heard in the light-shatter, saying “He’s going to die. Lay him down here and let him die. Keep walking.” The desert, out of focus and suddenly terribly sharp, burst white and yellow in their eyes. It tilted. Elongated. It was at an impossible angle! It tipped up towards the sun, and if they didn’t crawl, they would slide right off it and fall forever. It made noise: there were engines beneath the desert. It made evil grinding noises, mechanical humming. No, it was insectile, the screech of hunger and derision. The devils were under the rocks, spitting insults. The black head laughed. I believe in God the father, creator of heaven and earth. No, it did not fucking laugh—- it was silent as a graveyard out there. Just the crunch and slide, crunch and slide, of endless hopeless footsteps. Hundreds of footsteps.
Luis Alberto Urrea (The Devil's Highway: A True Story)
She was beautifully constructed and the mechanic in me got off on seein’ how her body worked, how it moved. Loved bendin’ her just to see how flexible she could be, touchin’ her just to see how high her engine would rev.
Giana Darling (Welcome to the Dark Side (The Fallen Men, #2))
Science is not only laboratory experimentation, spiritualism, society, field work, politics, arts, history, engineering and management, medicine everything is science. Star gazing is a science, sun gazing is a science, understanding animals and insects is science, understanding static and dynamic mechanisms of humans, living and non living things on universe and beyond is science. Understanding a women is science, understanding a men is science. Everything under umbrella of universal science. Who said christianity or islam is not related India and who said Vedas were written only by hindus? Who said himalayan monks are Indians? See Understanding myself is very simple if you are good I will be good, if you are bad I will be bad, If you play I will also play but personally I will not accept because you have so good, bad plays so I can not trust on you. And without trust I may consider you as a human being, if little care is there then friend or sister or brother not close friend or love because you already lost the trust when I gave a chance. I give chances to find purity and loyalty and I will not care afterwards and you will get hurt after sometime and you will miss after sometime, but I will not be there
Ganapathy K
Human actions are based on imagination, belief, and faith, not on objective observation – as military and political experts know well. Even science, which claims its methods and theories are rationally developed, is shaped by emotion and fancy, or by fear. And to control human imagination is to shape mankind's collective destiny. Beyond the question of the physical nature of the UFOs, it is imperative that we study the deeper problem of their impact on our imagination and culture. How the UFO phenomena will affect, in the long run, our views about science, about religion, about the exploration of space, is impossible to measure. But the phenomenon does appear to have a real effect. And a peculiar feature of this mechanism is that it affects equally those who "believe" and those who oppose its reality in a physical sense. For the time being, the observation can be made that it is possible to make large sections of any population believe in the existence of supernatural races, in the possibility of flying machines, in the plurality of inhabited worlds, by exposing them to a few carefully engineered scenes the details of which are adapted to the culture and symbols of a particular time and place. Could the meetings with UFO entities be designed to control our beliefs? Consider their changing character. In the United States, they appear as science fiction monsters. In South America, they are sanguinary and quick to get into a fight. In France, they behave like rational, Cartesian, peace-loving tourists. The Irish Gentry, if we believe its spokesmen, was an aristocratic race organized somewhat like a religious-military order. The airship pilots were strongly individualistic characters with all the features of the American farmer.
Jacques F. Vallée (Dimensions: A Casebook of Alien Contact)
Men who write love scenes as if they are dealing with the mechanical parts of an engine should know that such scenes have zero erotic effect and do not accomplish their primary mission of evoking a loving experience between people.
Sol Stein (Stein On Writing: A Master Editor of Some of the Most Successful Writers of Our Century Shares His Craft Techniques and Strategies)
That man, I think, has had a liberal education who has been so trained in his youth that his body is the ready servant of his will, and does with ease and pleasure all the work that, as a mechanism, it is capable of; whose intellect is a clear, cold, logic engine, with all its parts of equal strength, and in smooth working order; ready, like a steam engine, to be turned to any kind of work, and spin the gossamers as well as force the anchors of the mind; whose mind is stored with a knowledge of the great and fundamental truths of Nature and of the laws of her operations; one who, no stunted ascetic, is full of life and fire, but knows passions are trained to come to heel by a vigorous will, the servant of a tender conscience; who has learned to love all beauty, whether of Nature or of art, to hate all vileness, and to respect others as himself. Such a one and no other, I conceive, has had a liberal education, for he is in harmony with nature. He will make the best of her and she of him.
Thomas Henry Huxley (Lay Sermons, Addresses, And Reviews)
People who don’t read it, and even some of those who write it, like to assume or pretend that the ideas used in science fiction all rise from intimate familiarity with celestial mechanics and quantum theory, and are comprehensible only to readers who work for NASA and know how to program their VCR. This fantasy, while making the writers feel superior, gives the non-readers an excuse. I just don’t understand it, they whimper, taking refuge in the deep, comfortable, anaerobic caves of technophobia. It is of no use to tell them that very few science fiction writers understand “it” either. We, too, generally find we have twenty minutes of I Love Lucy and half a wrestling match on our videocassettes when we meant to record Masterpiece Theater. Most of the scientific ideas in science fiction are totally accessible and indeed familiar to anybody who got through sixth grade, and in any case you aren’t going to be tested on them at the end of the book. The stuff isn’t disguised engineering lectures, after all. It isn’t that invention of a mathematical Satan, “story problems.” It’s stories. It’s fiction that plays with certain subjects for their inherent interest, beauty, relevance to the human condition. Even in its ungainly and inaccurate name, the “science” modifies, is in the service of, the “fiction.” For example, the main “idea” in my book The Left Hand of Darkness isn’t scientific and has nothing to do with technology. It’s a bit of physiological imagination—a body change. For the people of the invented world Gethen, individual gender doesn’t exist. They’re sexually neuter most of the time, coming into heat once a month, sometimes as a male, sometimes as a female. A Getheian can both sire and bear children. Now, whether this invention strikes one as peculiar, or perverse, or fascinating, it certainly doesn’t require a great scientific intellect to grasp it, or to follow its implications as they’re played out in the novel. Another element in the same book is the climate of the planet, which is deep in an ice age. A simple idea: It’s cold; it’s very cold; it’s always cold. Ramifications, complexities, and resonance come with the detail of imagining. The Left Hand of Darkness differs from a realistic novel only in asking the reader to accept, pro tem, certain limited and specific changes in narrative reality. Instead of being on Earth during an interglacial period among two-sexed people, (as in, say, Pride and Prejudice, or any realistic novel you like), we’re on Gethen during a period of glaciation among androgynes. It’s useful to remember that both worlds are imaginary. Science-fictional changes of parameter, though they may be both playful and decorative, are essential to the book’s nature and structure; whether they are pursued and explored chiefly for their own interest, or serve predominantly as metaphor or symbol, they’re worked out and embodied novelistically in terms of the society and the characters’ psychology, in description, action, emotion, implication, and imagery. The description in science fiction is likely to be somewhat “thicker,” to use Clifford Geertz’s term, than in realistic fiction, which calls on an assumed common experience. The description in science fiction is likely to be somewhat “thicker,” to use Clifford Geertz’s term, than in realistic fiction, which calls on an assumed common experience. All fiction offers us a world we can’t otherwise reach, whether because it’s in the past, or in far or imaginary places, or describes experiences we haven’t had, or leads us into minds different from our own. To some people this change of worlds, this unfamiliarity, is an insurmountable barrier; to others, an adventure and a pleasure.
Ursula K. Le Guin (A Fisherman of the Inland Sea)
How do companies, producing little more than bits of code displayed on a screen, seemingly control users’ minds?” Nir Eyal, a prominent Valley product consultant, asked in his 2014 book, Hooked: How to Build Habit-Forming Products. “Our actions have been engineered,” he explained. Services like Twitter and YouTube “habitually alter our everyday behavior, just as their designers intended.” One of Eyal’s favorite models is the slot machine. It is designed to answer your every action with visual, auditory, and tactile feedback. A ping when you insert a coin. A ka-chunk when you pull the lever. A flash of colored light when you release it. This is known as Pavlovian conditioning, named after the Russian physiologist Ivan Pavlov, who rang a bell each time he fed his dog, until, eventually, the bell alone sent his dog’s stomach churning and saliva glands pulsing, as if it could no longer differentiate the chiming of a bell from the physical sensation of eating. Slot machines work the same way, training your mind to conflate the thrill of winning with its mechanical clangs and buzzes. The act of pulling the lever, once meaningless, becomes pleasurable in itself. The reason is a neurological chemical called dopamine, the same one Parker had referenced at the media conference. Your brain releases small amounts of it when you fulfill some basic need, whether biological (hunger, sex) or social (affection, validation). Dopamine creates a positive association with whatever behaviors prompted its release, training you to repeat them. But when that dopamine reward system gets hijacked, it can compel you to repeat self-destructive behaviors. To place one more bet, binge on alcohol—or spend hours on apps even when they make you unhappy. Dopamine is social media’s accomplice inside your brain. It’s why your smartphone looks and feels like a slot machine, pulsing with colorful notification badges, whoosh sounds, and gentle vibrations. Those stimuli are neurologically meaningless on their own. But your phone pairs them with activities, like texting a friend or looking at photos, that are naturally rewarding. Social apps hijack a compulsion—a need to connect—that can be even more powerful than hunger or greed. Eyal describes a hypothetical woman, Barbra, who logs on to Facebook to see a photo uploaded by a family member. As she clicks through more photos or comments in response, her brain conflates feeling connected to people she loves with the bleeps and flashes of Facebook’s interface. “Over time,” Eyal writes, “Barbra begins to associate Facebook with her need for social connection.” She learns to serve that need with a behavior—using Facebook—that in fact will rarely fulfill it.
Max Fisher (The Chaos Machine: The Inside Story of How Social Media Rewired Our Minds and Our World)
I do not mean to deny the existence and importance of rules. A techie understands the value of rules; any attempt to reduce religion to a set of “feel-good” emotions, besides being dishonest, would imply to a scientist or an engineer that religion is without substance and thus devoid of worth. And though a typical techie would love to be an expert in everything, the more realistic among us realize that there are times when we’re forced to rely on the expertise of others. For many of us, religion is one of those times. That’s when we depend on rules to guide us.
Guy Consolmagno (God's Mechanics: How Scientists and Engineers Make Sense of Religion)