Oh, figures!' answered Ned. 'You can make figures do whatever you want.

We are like figures which some great demonstrator draws upon the blackboard of Time. A problem is to be solved, without doubt; what the problem is, we, the figures, cannot know and do not need to know; all we know is that sooner or later we shall be sponged off the board and other figures take our places, and the demonstration go on.

I make [figures] in which I try to give an impression of the whole.

The environment is located in the mind of the actor and is imposed by him on experience in order to make that experience more meaningful. It is seldom dawns on organizational theorists to look for environments inside of heads rather than outside of them.

Most humans, it seems, still put up fences around their acts and thoughts – even when these are piles of shit – for they have no other way of delimiting them. Contrast Paleolithic cave paintings, in which animals and magical markings are overlayed with no differentiation or sense of framing. But when some of us have worked in natural settings, say in a meadow, woods, or mountain range, our cultural training has been so deeply ingrained that we have simply carried a mental rectangle with us to drop around whatever we were doing. This made us feel at home. (Even aerial navigation is plotted geometrically, thus giving the air a 'shape').

[W] are belatedly realizing that the ill-treatment of the environment is damage to ourselves - for the simple reason that the subject and object cannot be separated, and that we and our surroundings are the process of a unified field[.]

The draperies that clothe figures must show that they are inhabited by these figures, enveloping them neatly to show the posture and motion of such figures, and avoiding the confusion of many folds, especially over the prominent parts, so that these may be evident

Represent your figures in such action as may be fitted to express what purpose is in the mind of each; otherwise your art will not be admirable.

A [figure] interests me when I can bring architecture out of it.

Show me where you are. Show me your environment

The scientist has to have a way of thinking about the environment of a system that is richer and more subtle than a mere looking at for boundaries. He does this by noting that, when we say that something lies ‘outside’ the system, we mean that system can do relatively little about its characteristics or its behavior. Environment, in effect, makes up the things and people that are ‘fixed’ or ‘given’, from the system’s point of view.

We reveal ourselves in the metaphors we choose for depicting the cosmos in miniature.

In prying apart the stone layers of the rocks, the scientist is, in reality, opening the leaves of the past history of our world.

We need to create an environment that would drive creativity.