Top 64 Laughlin Quotes
#1. I work with many jazz artists as Miles Davis, Laughlin, etc.. One of the things all these artists had in common is that they had no fear.
George Duke
#2. I'm gonna do between 75 and 100 dates. A lot of it will be in Laughlin, Nevada; I'll be there for two weeks. And I'll work some casinos here and there, and the fair dates.
Mel Tillis
#3. Faced with our imminent extinction, Tom Laughlin believes, all assumptions are called into question.
Steven Pressfield
#4. She'll tell you this house is haunted, but I believe the truth of the matter is that people get haunted. Not places.' - Will Laughlin
Brandy Heineman
#5. I don't know how many years it was before I arrived at a formulated philosophy that the happiest thing to do, always, when visiting an individual or a country, is to admit, by word or manner, how much I'm finding there that my life had lacked hitherto
Clara E. Laughlin
#6. One of the terrific aspects of MIT in those days was the enormous variety of experimental work that either took place there or was talked about in seminars by outside speakers aggressively recruited by the faculty.
Robert B. Laughlin
#7. The mystery of light [and] the enigma of time form the twin pivots around which all my work revolves. In addition ... my work attempts to create a mythology for our contemporary world.
Clarence John Laughlin
#8. I often feel I'm working in a vacuum, or in a country where few readers can hear the sounds.
James Laughlin
#9. I try to write in plain brown blocks of American speech but occasionally set in an ancient word or a strange word just to startle the reader a little bit and to break up the monotony of the plain American cadence.
James Laughlin
#10. The questions worth asking, in other words, come not from other people but from nature, and are for the most part delicate things easily drowned out by the noise of everyday life.
Robert B. Laughlin
#11. Concrete poets continue to turn out beautiful things, but to me they're more visual than oral, and they almost really belong on the wall rather than in a book. I haven't the least idea of where poetry is going.
James Laughlin
#12. Every now and then, I strike something that just goes click, you know, in my head. As Gertrude Stein used to say, it rings the bell, and I feel, this is great.
James Laughlin
#13. We see them when they come to New York. They stay at my wife's apartment. We have quite a correspondence with them at all times. They play a very important role, the authors in the firm, because so much of the material we publish is suggested by them.
James Laughlin
#14. As a consequence while we had a roof over our heads, food on the table, and clothes to wear to school we were constantly conscious of being of modest means.
Robert B. Laughlin
#15. Often something comes in from which you can see that the person is good, the book may not be perfect as it is, and the person doesn't want to do a re-write. That's something we do almost nothing of.
James Laughlin
#16. My mother, who was professional schoolteacher, was particularly concerned about our formal education and even went so far as to start a private school together with some other parents so that our intellectual needs would be met.
Robert B. Laughlin
#17. Though your steps may falter
persevere with the climb,
You will achieve the summit
at the appropriate time.
Patricia D'Arcy Laughlin
#18. So mothers everywhere take heart. The indoctrination you administer now may have unanticipated positive effects years later.
Robert B. Laughlin
#19. It is an interesting fact that during my tour I was never allowed access to computers, radios, or anything else that I might damage through curiosity, or perhaps something more sinister.
Robert B. Laughlin
#20. I have approached the buildings as psychological and poetic manifestations - rather than from the more technical viewpoints of the architect and historian (which mostly miss the living spirit behind the forms).
Clarence John Laughlin
#21. Over the course of time this gave us a deep respect for ideas, both our own and those of others, and an understanding that conflict through debate is a powerful means of revealing truth.
Robert B. Laughlin
#22. My job at Stanford is rather different from the ones I had held previously in that my own ambitions must take a back seat to the well-being of the students with whom I work.
Robert B. Laughlin
#23. But the need for conflict to expose prejudice and unclear reasoning, which is deeply embedded in my philosophy of science, has its origin in these debates.
Robert B. Laughlin
#25. In our society, most of us wear protective masks of various kinds and for various reasons. Very often the end result is that the masks grow to us, displacing our original characters with our assumed characters.
Clarence John Laughlin
#26. I think we will always have the impulse towards visual poetry with us, and I wouldn't agree with Bly that it's a bad thing. It depends on the ability of the individual poet to do it well, and to make a shape which is interesting enough to hold your attention.
James Laughlin
#27. Dissatisfaction with one's self and dissatisfaction with the world - is necessary - it is one of the prime things that keeps the artist going on - that drives him - happiness, as such, must come in between times, as best it can.
Clarence John Laughlin
#29. I also taught myself how to blow glass using a propane torch from the hardware store and managed to make some elementary chemistry plumbing such as tees and small glass bulbs.
Robert B. Laughlin
#30. There are numerous cases of that, where one of our writers discovers another writer whom he likes, and we then take that book on. So it's a very close relationship. We can do that because we're so small.
James Laughlin
#31. We do very little re-writing in the office. We often take on people who show great promise and who we hope will develop into somebody important and someone good.
James Laughlin
#32. I think there is a great difference, in that when the poet is reading you get the whole personality of the person, especially if he's a good reader. Whereas a person just sitting gets what he puts into it.
James Laughlin
#33. The great glory of travel, to me, is not just what I see that's new to me in countries visited, but that in almost every one of them I change from an outsider looking in to an insider looking out.
Clara E. Laughlin
#34. It's all well and good to say that Germans were all responsible for the concentration camps, but I don't think they were. I think that was the work of a small group of fiends.
James Laughlin
#35. It was at this moment that I wrote my first important paper in theoretical physics. I was 32 years old, 5 years beyond the alleged age of senility for theorists.
Robert B. Laughlin
#37. I think most people read and re-read the things that they have liked. That's certainly true in my case. I re-read Pound a great deal, I re-read Williams, I re-read Thomas, I re-read the people whom I cam to love when I was at what you might call a formative stage.
James Laughlin
#38. My mother also had us take piano lessons, and this had a similar effect. I hated those lessons, but I now play regularly for pleasure and have even tried my hand at composing.
Robert B. Laughlin
#39. One of my basic feelings is that the mind, and the heart alike, of the photographer must be dedicated to the glory, the magic, and the mystery of light. The mystery of time, the magic of light, the enigma of reality - and their interrelationships - are my constant themes and preoccupations.
Clarence John Laughlin
#40. To this day I always insist on working out a problem from the beginning without reading up on it first, a habit that sometimes gets me into trouble but just as often helps me see things my predecessors have missed.
Robert B. Laughlin
#41. In old grimy streets, in isolated and decaying houses, sometimes far from the Vieux Carre, in little used and secluded cemeteries, there still sluggishly circulates the ebbing blood of the past, of a vigorous and vividly hued past.
Clarence John Laughlin
#42. Western society has many flaws, and it is good for an educated person to have thought some of these through, even at the expense of losing a lecture or two to tear gas.
Robert B. Laughlin
#43. Let us see as steadily and completely as possible the realities of our age: the wasted lives, the scattered and misused resources (human and material), the steel magic of the misdirected machinery, the mad clockwork tragedy of it all.
Clarence John Laughlin
#44. In parallel with the development of my interests in technical gadgetry I began to acquire a profound love of and respect for the natural world which motivates my scientific thinking to this day.
Robert B. Laughlin
#45. When I moved to Stanford I began to pursue the line of research I have been following ever since, namely trying to understand the larger implications of fractional quantum hall discovery.
Robert B. Laughlin
#46. With me it's the whole thing, it's the conceit, the idea, what the poem is saying. And it goes on just as long as is necessary to say what needs to be said.
James Laughlin
#47. [Gertrude Stein] really needed someone like Virgil Thomson, whom she respected, to sit on her a bit and make her devise some plot.
James Laughlin
#48. There is nothing, under present conditions, that can be more easily and exactly reproduced than a technically good black-and-white photograph, and it is utter rot to burden those interested in them with irrelevant biographical trivia and pet longwinded theory.
Clarence John Laughlin
#49. Then, of course, there are those sad occasions when a poet or a writer has not grown, and one has to let them go because they're just not making headway. But we have a very clear personal relationship with the authors.
James Laughlin
#50. The modern concept of the vacuum of space, confirmed every day by experiment, is a relativistic ether.
Robert B. Laughlin
#51. Photography is one of the most authentic and integral modes of expression possible in this world in which we live.
Clarence John Laughlin
#52. It was at Bell Labs that I first made direct contact with real semiconductor experts and thus began to fully understand what amazing materials they were and what they could do.
Robert B. Laughlin
#53. A person obsessed with ultimate truth is a person asking to be relieved of money.
Robert B. Laughlin
#54. It is ironic that Einsteins most creative work, the general theory of relativity, should boil down to conceptualizing space as a medium when his original premise [in special relativity] was that no such medium existed [..] ...
Robert B. Laughlin
#55. I do read everything that we publish. We usually have to have two or three votes for a book before we take it on. So in that sense I suppose it is an orchestra.
James Laughlin
#56. It therefore should be possible for even the photographer - just as for the creative poet or painter - to use the object as a stepping stone to a realm of meaning completely beyond itself.
Clarence John Laughlin
#57. Of course a poem is a two-way street. No poem is any good if it doesn't suggest to the reader things from his own mind and recollection that he will read into it, and will add to what the poet has suggested. But I do think poetry readings are very important.
James Laughlin
#58. I think that concrete poetry seems to have, as far as I can see, come to a kind of a dead end. It doesn't seem to be going any further than it went in its high period of about five or six years ago.
James Laughlin
#59. The German experience, as you can see, did move me very much. Seeing that terrible destruction and seeing the miserable state of the people, how they had been beaten down by the war through no fault of their own probably.
James Laughlin
#60. As a whole, I am interested in the symbolic, rather than the literal use of the camera.
Clarence John Laughlin
#61. I think that is where poetry reading becomes such an individual thing. I mean I have friend who like poets who just don't say anything to me at all, I mean they seem to me rather ordinary and pedestrian.
James Laughlin
#62. At Berkeley I had my first encounter with real professional scientists.
Robert B. Laughlin
#63. We don't attempt to have any theme for a number of the anthology, or to have any particular sequence. We just put in things that we like, and then we try to alternate the prose and the poetry.
James Laughlin
#64. I think one ages and one dates. I tend to have a good deal of difficulty in liking some of the new poets.
James Laughlin
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