Quotes on Sequence

What attracted me to immunology was that the whole thing seemed to revolve around a very simple experiment: take two different antibody molecules and compare their primary sequences. The secret of antibody diversity would emerge from that. Fortunately at the time I was sufficiently ignorant of the subject not to realise how naive I was being.

I realized at a young age that sequence in an album is almost as important as the songs that are on the album.

The difference between the novice and the master is simply that the novice has not learnt, yet, how to do things in such a way that he can afford to make small mistakes. The master knows that the sequence of his actions will always allow him to cover his mistakes a little further down the line. It is this simple but essential knowledge which gives the work of a master carpenter its wonderful, smooth, relaxed, and almost unconcerned simplicity.

Our lives disconnect and reconnect, we move on, and later we may again touch one another, again bounce away. This is the felt shape of a human life, neither simply linear nor wholly disjunctive nor endlessly bifurcating, but rather this bouncey-castle sequence of bumpings-into and tumblings-apart.

The solar system should be viewed as our backyard, not as some sequence of destinations that we do one at a time.

To me, movies and music go hand in hand. When I'm writing a script, one of the first things I do is find the music I'm going to play for the opening sequence.

If we can put a man on the moon and sequence the human genome, we should be able to devise something close to a universal digital public library.

I am above the weakness of seeking to establish a sequence of cause and effect, between the disaster and the atrocity.

The fact that people will be full of greed, fear, or folly is predictable. The sequence is not predictable.

Whatever Nature undertakes, she can only accomplish it in a sequence. She never makes a leap.

The body of science is not, as it is sometimes thought, a huge coherent mass of facts, neatly arranged in sequence, each one attached to the next by a logical string. In truth, whenever we discover a new fact it involves the elimination of old ones. We are always, as it turns out, fundamentally in error.

We do NOT know the past in chronological sequence. It may be convenient to lay it out anesthetized on the table with dates pasted on here and there, but what we know we know by ripples and spirals eddying out from us and from our own time.

You wouldn't die in here, nothing ever dies in here, but if you stayed here for too long, after a while just a little of you would exist everywhere, all spread out. And that's not a good thing. Never enough of you all together in one place, so t here wouldn't be anything left that would think of itself as an 'I.' No point of view any longer, because you'd be an infinite sequence of views and of points.

And didn't it always go like that--body parts not lining up the way you wanted them to, all of it a little bit off, as if the world itself were an animated sequence of longing and envy and self-hatred and grandiosity and failure and success, a strange and endless cartoon loop that you couldn't stop watching, because, despite all you knew by now, it was still so interesting.

Not one of your pertinent ancestors was squashed, devoured, drowned, starved, stranded, stuck fast, untimely wounded, or otherwise deflected from its life's quest of delivering a tiny charge of genetic material to the right partner at the right moment in order to perpetuate the only possible sequence of hereditary combinations that could result -- eventually, astoundingly, and all too briefly -- in you.

The difference between hearsay and prophecy is often one of sequence. Hearsay often turns out to have been prophecy.

Everything is a tale, Martin. What we believe, what we know, what we remember, even what we dream. Everything is a story, a narrative, a sequence of events with characters communicating an emotional content. We only accept as true what can be narrated.

When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination. The sequence of pictures plays directly on our feelings. Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence.

I was supposed to have a script, and had mislaid it. I was supposed to hear cues, and no longer did. I was meant to know the plot, but all I knew was what I saw: flash pictures in variable sequence, images with no 'meaning' beyond their temporary arrangement, not a movie but a cutting-room experience.