Physiologist Quotes

“The zoologist is delighted by the differences between animals, whereas the physiologist would like all animals to work in fundamentally the same way.”

“The zoologist is delighted by the differences between animals, whereas the physiologist would like all animals to work in fundamentally the same way.”

“The tendency of old age to the body, say the physiologists, is to form bone. It is as rare as it is pleasant to meet with an old man whose opinions are not ossified.”

“Our perceptions of reality are only a relationship to what is actually out there. Perceptions are influenced by context, by previous life experience, and by our tendency to seek outevidence to confirm our expectations. This drive to confirm, asargued by social physiologists, results in what is known as self fulfilling prophecy.”

“If, again, the most superficial introspection teaches the physiologist that his conscious life is dependent upon the mechanical adjustments of his body, and that inversely his body is subjected with certain limitations to his will, then it only remains for him to make one assumption more, namely, that this mutual interdependence between the spiritual and the material is itself also dependent on law, and he has discovered the bond by which the science of the matter and the science of consciousness are united into a single whole.”

“In our hallway, ablaze with welcoming lights, my Lolita peeled off her sweater, shook her gemmed hair, stretched towards me two bare arms, raised one knee:“Carry me upstairs, please. I feel sort of romantic tonight.”It may interest physiologists to learn, at this point, that I have the ability - a most singular case, I presume - of shedding torrents of tears throughout the other tempest.”

“Art is not, as the metaphysicians say, the manifestation of some mysterious idea of beauty or God; it is not, as the aesthetical physiologists say, a game in which man lets off his excess of stored-up energy; it is not the expression of man's emotions by external signs; it is not the production of pleasing objects; and, above all, it is not pleasure; but it is a means of union among men, joining them together in the same feelings, and indispensable for the life and progress toward well-being of individuals and of humanity.”

“Looking ahead to future applications of electronics, [de Forest] grew even gloomier. He believed that 'electron physiologists' would eventually be able to monitor and analyze 'thought or brain waves', allowing 'joy and grief to be measured in define, quantitative unit.' Ultimately, he concluded, 'a professor may be able to implant knowledge into the reluctant brains of his 22nd century pupils. What terrifying political possibilities may be lurking there! Let us be thankful that such things are only for posterity, not for us.”

“Only the middle distance and what may be called the remoter foreground are strictly human. When we look very near or very far, man either vanishes altogether or loses his primacy. The astronomer looks even further afield than the Sung painter and sees even less of human life. At the other end of the scale the physicist, the chemist, the physiologist pursue the close-up – the cellular close-up, the molecular, the atomic and subatomic. Of that which, at twenty feet, even at arm’s length, looked and sounded like a human being no trace remains.Something analogous happens to the myopic artist and the happy lover. In the nuptial embrace personality is melted down; the individual (it is the recurrent theme of Lawrence’s poems and novels) ceases to be himself and becomes a part of the vast impersonal universe.And so it is with the artist who chooses to use his eyes at the near point. In his work humanity loses its importance, even disappears completely. Instead of men and women playing their fantastic tricks before high heaven, we are asked to consider the lilies, to meditate on the unearthly beauty of ‘mere things,’ when isolated from their utilitarian context and rendered as they are, in and for themselves. Alternatively (or, at an earlier stage of artistic development, exclusively), the nonhuman world of the near-point is rendered in patterns. These patterns are abstracted for the most part from leaves and flowers – the rose, the lotus, the acanthus, palm, papyrus – and are elaborated, with recurrences and variations, into something transportingly reminisce”