Perception of Space Quotes

Space and time are not objects of perception, but qualities of awareness

There’s something about sitting alone in the dark that reminds you how big the world really is, and how far apart we all are. The stars look like they’re so close, you could reach out and touch them. But you can’t. Sometimes things look a lot closer than they are.

How can we hope, after all, to see a tree or rock or clear north sky if we do not adopt a little of their mode of life, a little of their time? if the time it takes to cross space is a way by which we define it, then to arrive at a view of space “in no time” is to have denied its reality

The width of a line may present the idea of infinity. An epigram may contain a world. In the same way, a small picture format may be much more living, much more leavening, stirring, awakening, than square yards of wall space.

Camera and eye are together a time machine with which the mind and human being can do the same kind of violence to time and space as dreams.

The longer a line, the more of the time element it contains. Distance is time whereas a surface is apprehended more in terms of the moment.

... If we consider the difference between William Henry Jackson packing in his camera by mule, and the person stepping for a moment from his car to take a picture with his Instamatic, it becomes clear how some of our space has vanished; if the time it takes to cross space is a way by which we define it, then to arrive at a view of space 'in no time' is to have denied its reality.

Years ago, I was crashed in gram’s garden and Big asked me what I was doing. I told him I was looking up at the sky. He said, “That’s a misconception, Lennie, the sky is everywhere, it begins at your feet.

To me, every hour of the light and dark is a miracle. Every cubic inch of space is a miracle.

When you are getting kicked from the rear it means you are in front.

When I am in the city I have the impression that I am in a living room with crystal chandeliers, rugs of velvet, and satin cushions. And when I'm in the favela I have the impression that I'm a useless object, destined to be forever in a garbage dump.

Idris: Are all people like this? The Doctor: Like what? Idris: So much bigger on the inside.

Your rainbow panorama enters into a dialogue with the existing architecture and reinforces what is assured beforehand, that is to say the view of the city. I have created a space which virtually erases the boundaries between inside and outside – where people become a little uncertain as to whether they have stepped into a work or into a part of the museum. This uncertainty is important to me, as it encourages people to think and sense beyond the limits within which they are accustomed to moving.

The heart of the problem is not so much how we see objects in depth, as how we see the constant layout of the world around us. Space, as such, empty space, is not visible, but surfaces are.

What we hope for from the artist is help in discovering the significance of a place. In this sense we would choose in most respects for thirty minutes with Edward Hopper’s painting Sunday Morning to thirty minutes on the street that was his subject; with Hopper’s vision we see more.

Design does matter. And not necessarily in a way that people realize. A lot of what you do, people take for granted - that a park has always been here, that a bicycle lane has always been there, that the street is safe or clean.

She thinks how much more space a being occupies in life than it does in death; how much illusion of size is contained in gestures and movements, in breathing. Dead, we are revealed in our true dimensions, and they are surprisingly modest.

As the eye is the best composer, so light is the first of painters. There is no object so foul that intense light will not make beautiful; and the stimulus it affords to the sense, and a sort of infinitude which it hath like space and time, make all matter gay.

This is our world, although the people who drew this map decided to put their own land on top of ours. There is no top or bottom, you see.

To me, every hour of the light and dark is a miracle, every inch of space is a miracle, every square yard of the surface of the earth is spread with the same, every cubic foot of the interior swarms with the same; every spear of grass-the frames, limbs, organs, of men and women, and all that concerns them, all these to me are unspeakably perfect miracles.

When I look at things, I always see the space they occupy. I always want the space to reappear, to make a comeback, because it's lost space when there's something in it.

Our ability to perceive the world around us seems so effortless that we tend to take it for granted.

Traditional Chinese art looked at the Earth from a Confucian mountain top; Japanese art looked closely around screens; Italian Renaissance art surveyed conquered nature through the window or door-frame of a palace. For the Cro-Magnons, space is a metaphysical arena of continually intermittent appearances and disappearances.

What counts more than style is whether architecture improves our experience of the built world; whether it makes us wonder why we never noticed places in quite this way before.

There has been a great gulf in psychological thought between the perception of space and objects on one hand and the perception of meaning on the other.