Object Manipulation Quotes

As I'm studying magic, juggling is mentioned repeatedly as a great way to acquire dexterity and coordination. Now, I had long admired how fast and fluidly jugglers make objects fly. So that's it. I'm 14; I'm becoming a juggler.

I could take an umbrella and balance it on my chin or on my foot. And I just got interested in that kind of thing. And as I played games more and more and got stronger physically, I just became more coordinated.

If you put a baseball and other toys in front of a baby, he'll pick up a baseball in preference to the others.

You will be able to program a robot to follow a track on the ground and manipulate a hand. You can also write little programs that will give the robots goals.

So robots are good at very simple things like cleaning the floor, like doing a repetitive task. Our robots have a little tiny bit of common sense. Our robots know that if they've got something in their hand and they drop it, it's gone. They shouldn't go and try and put it down.

Holding onto and manipulating physical objects is one of the things we learn earliest and do the most. It should not be surprising that object control is the basis of one of the five most fundamental metaphors for our inner life. To control objects, we must learn to control our bodies. We learn both forms of control together. Self-control and object control are inseparable experiences from earliest childhood. It is no surprise that we should have as a metaphor-a primary metaphor-Self Control is Object Control.

All object printed: Love me. Look me. Million speaking objects,begging. Crown American consumer with power of king, to rescue choose and give home or abandon here for expire.

Take an object. Do something to it. Do something else to it.

It's very important to put children in an environment where they can take things apart; where they can break things and then learn to fix them; where they can trust their hands and know their capacity to manipulate objects.

There is something I feel when I animate something; you can never really understand the character you're animating unless you've had the opportunity to turn it around. Once you've done that, you know it is a three-dimensional object.

Juggling is sometimes called the art of controlling patterns, controlling patterns in time and space.

I don’t have a theoretical language for music. I’m really inspired by sculpture, so I like to say, ‘you’re not making music, you’re creating a space. You’re building a room, putting some objects in it, and seeing what happens to the objects over time.’

Science no longer is in the position of observer of nature, but rather recognizes itself as part of the interplay between man and nature. The scientific method ... changes and transforms its object: the procedure can no longer keep its distance from the object.

The principal agent is the object itself and not the instruction given by the teacher. It is the child who uses the objects; it is the child who is active, and not the teacher.

I can juggle.

Children need to be exploring their physical world. They need to be learning the fundamental laws of physics by manipulating objects.

Juggling is very, very straightforward; very, very black and white; you're manipulating objects, not people. And that's always appealed to me.

Take hold of objects by their centres, not by their lines of contour... The contour accentuated uniformly and beyond proportion, destroys plasticity, bringing forward those parts of an object which are always most distant from the eye - namely its outlines.

It will be a dream come true if I can go there and lift it.

If you can make art with sound, can't you make music with objects?

Once an object has been incorporated in a picture it accepts a new destiny.

I came from product design originally - I had been designing dolls for a toy company since I was 16 - so I'm used to working with plastic and different things. I had an innate interest in objects.

I look at it somewhat as a way - when you learn juggling, what you learn is how to feel with your eyes and see with your hands because you're not looking at your hands, you're looking at where the balls are, or you're looking at the audience.

What stop-motion does best is present real objects magically brought to life in a very imperfect situation; the hand of the artist is there, the electricity of someone touching, massaging and torturing themselves to get life out of an inanimate object.

I'm interested in people's relationship to objects, so I think a lot of my work is very tactile.