Optical Instrument Quotes

Every reader, as he reads, is actually the reader of himself. The writer's work is only a kind of optical instrument he provides the reader so he can discern what he might never have seen in himself without this book. The reader's recognition in himself of what the book says is the proof of the book's truth.

Every reader finds himself. The writer's work is merely a kind of optical instrument that makes it possible for the reader to discern what, without this book, he would perhaps never have seen in himself.

In reality every reader is, while he is reading, the reader of his own self. The writer's work is merely a kind of optical instrument which he offers to the reader to enable him to discern what, without this book, he would perhaps never have perceived in himself.

In reality, every reader is, while he is reading, the reader of his own self. The writer’s work is merely a kind of optical instrument which he offers to the reader to enable him to discern what, without this book, he would perhaps never have experienced in himself. And the recognition by the reader in his own self of what the book says is the proof of its veracity.

In reality, every reader when he is reading, is the reader of his own self. The writer’s work is merely a kind of optical instrument which he offers to the reader to permit him to discern what, without the book, he would perhaps never have seen in himself. The reader’s recognition in his own self of what the book says is the proof of its truth.

The eye: the window to the soul; the center of the face's beauty; the point where a person's identity is concentrated; but at the same time an optical instrument that requires constant washing, wetting, maintenance by a special liquid dosed with salt. So the gaze, the greatest marvel man possesses, is regularly interrupted by a mechanical washing action.

In reality, every reader, while he is reading, is the reader of his own self. The writer’s work is merely a kind of optical instrument, which he offers to the reader to permit him to discern what, without the book, he would perhaps never have seen in himself. The reader’s recognition in his own self of what the book says is the proof of its truth.

At this moment, in this place, the shifting action potential in my neurons cascade into certain arrangements, patterns, thoughts; they flow down my spine, branch into my arms, my fingers, until muscles twitch and thought is translated into motion; mechanical levers are pressed; electrons are rearranged; marks are made on paper. At another time, in another place, light strikes the marks, reflects into a pair of high-precision optical instruments sculpted by nature after billions of years of random mutations; upside-down images are formed against two screens made up of millions of light-sensitive cells, which translate light into electrical pulses that go up the optic nerves, cross the chiasm, down the optic tracts, and into the visual cortex, where the pulses are reassembled into letters, punctuation marks, words, sentences, vehicles, tenors, thoughts. The entire system seems fragile, preposterous, science fictional.

In reality, every reader, while he is reading, is the reader of his own self. The writer’s work is merely a kind of optical instrument, which he offers to the reader to permit him to discern what, without the book, he would perhaps never have seen in himself. The reader’s recognition in his own self of what the book says is the proof of its truth.

It reflects like an optical instrument and responds to changes in the weather so sensitively that it seems like a part of the sky rather than of the land. And along with all that, Baikal is distinctly Asiatic: if a camel caravan could somehow transport Baikal across Siberia to Europe, and curious buyers unwrapped it in a marketplace, none would mistake it for a lake from around there.

(Popular singer Eddie Fisher, appearing on This is Show Business, told Kaufman that women refused to date him because he looked so young.) Mr. Fisher, on Mount Wilson there is a telescope that can magnify the most distant stars up to twenty-four times the magnification of any previous telescope. This remarkable instrument was unsurpassed in the world of astronomy until the construction of the Mount Palomar telescope, an even more remarkable instrument of magnification. Owing to advances and improvements in optical technology, it is capable of magnifying the stars to four times the magnification and resolution of the Mount Wilson telescope - Mr. Fisher, if you could somehow put the Mount Wilson telescope inside the Mount Palomar telescope, you still wouldn't be able to detect my interest in your problem.

In reality, every reader, while he is reading, is the reader of his own self. The writer’s work is merely a kind of optical instrument, which he offers to the reader to permit him to discern what, without the book, he would perhaps never have seen in himself. The reader’s recognition in his own self of what the book says is the proof of its truth. —Marcel Proust, Le temps retrouvé

Memory must have a good PR agent, because in reality, as an instrument of optical precision, it seems to me little better than a fairground kaleidoscope. To reconstruct an experience on the basis of images stored in our brains at times borders on hallucination. We do not recover the past, we re-create it: an act of dramaturgy if ever there was one. Memory edits things, colors them, mixes cement with the rainbow, does whatever’s needed to make the story work.

While Europe was mired in its dark years of medieval superstition, the work of combining theory and experiment was advanced primarily in the Islamic world. Muslim scientists often also worked as scientific instrument makers, which made them experts at measurements and applying theories. The Arab physicist Ibn al-Haytham, known as Alhazen, wrote a seminal text on optics in 1021 that combined observations and experiments to develop a theory of how human vision works, then devised further experiments to test the theory.

Such intimate communion between our own life and the novels we read may be why Proust argued: "In reality, every reader is, while he is reading, the reader of his own self. the writer's work is merely a kind of optical instrument which he offers to the reader to enable him to discern what, without this book, he would perhaps never have experienced in himself. And the recognition by the reader in his own self of what the book says is the proof of its veracity.

In reality, every reader, as he reads, is the reader of himself. The work of the writer is only a sort of optic instrument which he offers to the reader so that he may discern in the book what he would probably not have seen in himself.

Every act of communication is a miracle of translation. At this moment, in this place, the shifting action potentials in my neurons cascade into certain arrangements, patterns, thoughts; they flow down my spine, branch into my arms, my fingers, until muscles twitch and thought is translated into motion; mechanical levers are pressed; electrons are rearranged; marks are made on paper. At another time, in another place, light strikes the marks, reflects into a pair of high precision optical instruments sculpted by nature after billions of years of random mutations; upside-down images are formed against two screens made up of millions of light-sensitive cells, which translate light into electrical pulses that go up optic nerves, cross the chasm, down the optic tracts, and into the visual cortex, where the pulses are reassembled into letters, punctuation marks, words, sentences, vehicles, tenors, thoughts. The entire system seems fragile, preposterous, science fictional. Who can say if the thoughts you have in your mind as you read these words are the same thoughts I had in my mind as I typed them? We are different, you and I, and the qualia of our consciousnesses are as divergent as two stars at the ends of the universe. And yet, whatever has been lost in translation in the long journey of my thoughts through the maze of civilization to your mind, I think you do understand me, and you think you do understand me. Our minds managed to touch, if but briefly and imperfectly.

How do we picture the past? Does it become clearer as it drifts into the distance? Can it be seen from more angles, a better vantage, with finer instruments for optics, and more supporting documentation to draw from? Or has its essence already vanished, leaving space for lies to multiply and thrive, spreading across paperwork that is good for nothing except, perhaps, a nervous acting captain's next snack?

The strength of Bell Labs, Baker declared, was in its links with other parts of the monopoly. It was what allowed the Labs’ scientists and engineers to “think of new digital networks, or new telephone instruments, of new modes of distribution like satellites and fiber optics.” It was, Baker added with a typical flourish, what allowed “human creativity [to be] converted to human benefits.” The arrangement must continue.

What a difference there is between possessing a woman with one’s body alone, because she is no more than a piece of flesh, and possessing the girl one used to see on the beach with her friends on certain days, without even knowing why it was on those days and not on others, so that one trembled to think one might not see her again. Life had been so kind as to reveal the whole extent of this young girl’s life, had lent first one optical instrument, then another, to see her with, and then added to carnal desire the accompaniment, multiplying and diversifying it, of other desires, more spiritual and less easily satisfied, which lie inert and unaffected when it is merely a question of the conquest of a piece of flesh, but which, when they want to gain possession of a whole field of memories from which they have felt nostalgically exiled, surge up wildly around carnal desire, extend it, are unable to follow it to the fulfillment, the assimilation, impossible in the form in which it is sought, of an immaterial reality, but wait for this desire halfway and, the moment the memory of it returns, are there to escort it once more; to kiss, not the cheeks of the first woman who comes along—anonymous, devoid of mystery and glamour, however cool and fresh those cheeks may be—but those of which I had so long been dreaming, would be to know the taste, the savor, of a color I had so often contemplated. One sees a woman, a mere image in life’s scene, like Albertine silhouetted against the sea, and then it becomes possible to detach that image, bring it close, and gradually observe its volume, its colors, as though it had been placed behind the lenses of a stereoscope. For this reason, women who tend to be resistant and cannot be possessed at once, of whom indeed it is not immediately clear that they can ever be possessed at all, are the only interesting ones.

What a difference there is between possessing a woman with one’s body alone, because she is no more than a piece of flesh, and possessing the girl one used to see on the beach with her friends on certain days, without even knowing why it was on those days and not on others, so that one trembled to think one might not see her again. Life had been so kind as to reveal the whole extent of this young girl’s life, had lent first one optical instrument, then another, to see her with, and then added to carnal desire the accompaniment, multiplying and diversifying it, of other desires, more spiritual and less easily satisfied, which lie inert and unaffected when it is merely a question of the conquest of a piece of flesh, but which, when they want to gain possession of a whole field of memories from which they have felt nostalgically exiled, surge up wildly around carnal desire, extend it, are unable to follow it to the fulfillment, the assimilation, impossible in the form in which it is sought, of an immaterial reality, but wait for this desire halfway and, the moment the memory of it returns, are there to escort it once more; to kiss, not the cheeks of the first woman who comes along—anonymous, devoid of mystery and glamour, however cool and fresh those cheeks may be—but those of which I had so long been dreaming, would be to know the taste, the savor, of a color I had so often contemplated. One sees a woman, a mere image in life’s scene, like Albertine silhouetted against the sea, and then it becomes possible to detach that image, bring it close, and gradually observe its volume, its colors, as though it had been placed behind the lenses of a stereoscope. For this reason, women who tend to be resistant and cannot be possessed at once, of whom indeed it is not immediately clear that they can ever be possessed at all, are the only interesting ones. For to know them, to approach them, to conquer them is to make the human image vary in shape, in size, in relief, a lesson in relativity in the appreciation of a woman’s body, a joy to see anew when it has regained its slender outline against the backdrop of reality. Women who are first encountered in a brothel are of no interest, because they remain static.

I believe that the clue to his mind is to be found in his unusual powers of continuous concentrated introspection. A case can be made out, as it also can with Descartes, for regarding him as an accomplished experimentalist. Nothing can be more charming than the tales of his mechanical contrivances when he was a boy. There are his telescopes and his optical experiments, These were essential accomplishments, part of his unequalled all-round technique, but not, I am sure, his peculiar gift, especially amongst his contemporaries. His peculiar gift was the power of holding continuously in his mind a purely mental problem until he had seen straight through it. I fancy his pre-eminence is due to his muscles of intuition being the strongest and most enduring with which a man has ever been gifted. Anyone who has ever attempted pure scientific or philosophical thought knows how one can hold a problem momentarily in one's mind and apply all one's powers of concentration to piercing through it, and how it will dissolve and escape and you find that what you are surveying is a blank. I believe that Newton could hold a problem in his mind for hours and days and weeks until it surrendered to him its secret. Then being a supreme mathematical technician he could dress it up, how you will, for purposes of exposition, but it was his intuition which was pre-eminently extraordinary - 'so happy in his conjectures', said De Morgan, 'as to seem to know more than he could possibly have any means of proving'. The proofs, for what they are worth, were, as I have said, dressed up afterwards - they were not the instrument of discovery.

In reality, every reader, while he is reading, is the reader of his own self. The writer’s work is merely a kind of optical instrument, which he offers to the reader to permit him to discern what, without the book, he would perhaps never have seen in himself. The reader’s recognition in his own self of what the book says is the proof of its truth. —Marcel Proust, Le temps retrouvé

In reality, every reader, while he is reading, is the reader of his own self. The writer’s work is merely a kind of optical instrument, which he offers to the reader to permit him to discern what, without the book, he would perhaps never have seen in himself. The reader’s recognition in his own self of what the book says is the proof of its truth. —

every reader is, while he is reading, the reader of his own self. The writer's work is merely a kind of optical instrument which he offers to the reader to enable him to discern what, without this book, he would perhaps never have perceived himself. And the recognition by the reader in his own self of what the book says is the proof of its veracity.

It is only out of a habit derived from the insincere language of prefaces and dedications that writers talk about 'my reader'. In reality each reader, when he is reading, is uniquely reading himself. The writer's work is only a kind of optical instrument which he offers the reader to enable him to discern what without this book he might not perhaps have seen in himself.

Modern scanning probe instruments will often provide several different modes within the same instrument, including aspects of light microscopy such as near field optical scanning microscopy (NOSM) and micro tools for nanofabrication such as micro-writing devices (nanolithography), indentation probes providing exact positioning and force control, all in a specimen chamber in which both the temperature and gaseous environment can be precisely controlled. This type of scanning probe microscopy has made it possible to investigate a surface phenomenon termed surface plasmon polaritons (SPPs for short), which are surface electromagnetic waves that propagate between the interface of a metal and a dielectric (insulator). More explanation of SPPs would require a VSI on surface physics, but suffice it to say, the scanning plasmon near field microscope has made it possible to work towards practical exploitation in the applications of SPPs (which make it possible to ‘package’ light in smaller quantities than ever before) in optics, data storage, solar cells, chemical cells, and biosensors.

The moment they appeared on the scene, the first optical devices (Al-Hasan ibn al-Haitam aka Alhazen's camera obscura in the tenth century, Roger Bacon's instruments in the thirteenth, the increasing number of visual prostheses, lenses, astronomic telescopes and so on from the Renaissance on) profoundly altered the contexts in which mental images were topographically stored and retrieved, the impera- tive to re-present oneself, the imaging of the imagination which was such a great help in mathematics according to Descartes and which he considered a veritable part of the body, veram partem corporis. Just when we were apparently procuring the means to see further and better the unseen of the universe, we were about to lose what little power had of imagining it. The telescope, that epitome of the visual prosthesis, projected an image of a world beyond our reach and thus another way of moving about in the world, the logistics of perception inaugurating an unknown conveyance of sight that produced a tele- scoping of near and far, a phenomenon of acceleration obliterating our experience of distances and dimensions.

But by 1989–90, it became obvious that the majority of thrown materials didn’t fall into the reactor’s pit and didn’t fulfill their tasks. The combination of rated and measured curves should, most likely, be considered a result of the “hypnotic influence” of high science upon the results of incorrect measuring. Let’s consider some facts. The first one. Consider the Central Hall of the reactor. It’s covered by huge hills of thrown materials. This could be observed from the helicopters before completion of the Shelter that encased the reactor; and it was proved by the exploratory groups that got inside the hall after a long preparatory period. But this doesn’t exclude the fact that the major part of the materials landed in the reactor’s pit. The second fact. In the middle of 1988, with the help of optical instruments and TV cameras, researchers managed to see what was inside the pit of the reactor. They found practically no thrown materials. But here one can object that these materials fell into an area of extraordinarily high temperatures, and they melted and spread over the lower rooms of the reactor. Such a process could take place. On the lower floors, they did discover great accumulations of solid lava-like masses that contained nuclear fuel. The third fact. The presence of lead would indicate that those lava-like masses contained not only materials of the reactor itself—concrete, dolomite, sand, steel, zirconium, etc.—but also materials thrown from the helicopters. But there is no lead in the reactor and the nearest rooms, even though over two thousand tons of it was thrown in! After investigation of dozens of samples, it was found that the quantity of lead in the lava masses was too small. That meant the lead didn’t get into the pit. The other components of the thrown materials fell in such a small quantity, they couldn’t influence the behavior of the release. These are the known facts.

Theoretical and experimental physicists, working on problems of esoteric intellectual interest, provided the knowledge that eventually was pulled together to make the H-bomb, while mathematicians, geophysicists, and metallurgists, wittingly or unwittingly, made the discoveries necessary to construct intercontinental ballistic missiles. Physicists doing basic work in optics and infrared spectroscopy may have been shocked to find that their research would help government and corporate engineers build detection and surveillance devices for use in Indochina. The basic research of molecular biologists, biochemists, cellular biologists, neuropsychologists, and physicians was necessary for CBW (chemical-biological warfare) agents, herbicides, and gaseous crowd-control devices… Anthropologists studying social systems of mountain tribes in Indochina were surprised when the CIA collected their information for use in counterinsurgency operations. Psychologists explored the parameters of human intelligence-testing instruments which, once developed, passed out of their hands and now help the draft boards conscript men for Vietnam and the U.S. Army allocate manpower more effectively. Further, these same intelligence-testing instruments are now an integral part of the public school tracking systems that, beginning at an early age, reduce opportunities of working-class children for higher education and social mobility

Later novelists were to see that although formal realism imposed a more absolute and impersonal optical accuracy upon the manner in which literature performed its ancient task of holding a mirror up to nature, there were nevertheless ways in which a moral pattern could be conveyed, although they were perhaps more difficult and indirect than those of previous literary forms. For, in place of direct comment, or the power of tone and imagery, the pattern had to depend upon the manipulation of the mirror in time, in place, in closeness, in brilliance. "Point of view" was to become the crucial instrument whereby the writer expressed his moral sensibility, and pattern came to be the result of the hidden skill whereby the angles at which the mirror was held were made to reflect reality as the novelist saw it.

Each reader in the act of reading is the very reader of himself. The writer’s work is but a sort of optical instrument offered to the reader so that he can discern in himself what he might have been unable to see without this book. The reader’s recognition in himself of what the book says is proof of its truth.

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