Quotes of All Topics . Occasions . Authors
Nearly all web publications are driven by the display model, which is in turn driven by page views. But we all know the web is shifting, thanks to mobile devices and the walled gardens they erect. The new landscape of the web is far more complicated, and new products must emerge.
Painter after painter, since the beginning of the century, has tended toward abstraction. First, the Impressionists simplified the landscape in terms of color, and then the Fauves simplified it again by adding distortion, which, for some reason, is a characteristic of our century.
I've always relied a lot on landscape in my books, the atmosphere of a particular place, as well as a fair amount of external action. While writing 'Chance,' it occurred to me that this is the most internal book I've ever written. So much of the action takes place in Chance's head.
We found the appetite for 'Frontline' has only grown as the digital landscape has exploded. The appetite for the reporting we do on our digital platforms to the short films we're doing for our Facebook and YouTube channels. And we're still producing these remarkable long-form films.
Contrary to slanderous Eastern opinion, much of Iowa is not flat, but rolling hills country with a lot of timber, a handsome and imaginative landscape, crowded with constant small changes of scene and full of little creeks winding with pools where shiners, crappies and catfish hover.
Historically, China is not a nation of sportsmen. We traditionally put more emphasis on being close to nature than pushing endlessly to excel. A philosophy that values tranquil contemplation of the landscape cannot easily be adapted to the Olympic slogan of 'higher, stronger, faster.'
We're living in a tremendously new landscape, and the possibility of what can be created is immense. These tools of the moving image have a relatively short history in art, and what we can do with them is still largely unknown. We are still innovating and finding ways to tell stories.
Sometimes you take a job for the money, sometimes you take it for the location, sometimes you take it for the script; there are just a number of reasons, and ultimately what you see is the whole landscape of it. But I can tell you from behind the scenes - that's what it is, as an actor.
In this business, if you take too long, the landscape changes. So the opportunities that were there when I decided to take a break weren't there when I came back. It's like, 'Wait a second - what happened here?' It was a real learning experience. I've paid my dues, I will tell you that.
Bitcoin is absolutely the Wild West of finance, and thank goodness. It represents a whole legion of adventurers and entrepreneurs, of risk takers, inventors, and problem solvers. It is the frontier. Huge amounts of wealth will be created and destroyed as this new landscape is mapped out.
'Up in the Air' may be a glossy production sprinkled with laughter and sex, but it captures the distinctive topography of our Great Recession as vividly as a far more dour Hollywood product of 70 years ago, 'The Grapes of Wrath,' did the vastly different landscape of the Great Depression.
New York, to me, even though I grew up here, there's something magical about it. I remember, every time I used to go to L.A. for work, when I'd come back and get off the plane and be driving towards the landscape of the city, I'd be beside myself with joy. It doesn't matter how many times!
But it is also untrue that I have nothing specific in mind. As with my landscapes: I see countless landscapes, photograph barely 1 in 100,000, and paint barely 1 in 100 of those that I photograph. I am therefore seeking something quite specific; from this I conclude that I know what I want.
For me, I look at a pilot and go, 'I see the landscape. I see the characters. I see the direction and the potential of the story.' And I also go, 'That didn't work. I could change that. Maybe that works. I don't know. We'll see.' For me, I look at it, as an actor, as what can I improve upon?
I can use the camera to make a place or landscape; the camera to a greater extent projects rather than takes in or reproduces. The camera, or, rather, the eye, produces the impression of the place: I as a photographer am not passively taking in; I am active as a subject generating the object.
One day, out of irritation, I said, you know all of those years with the Royal Shakespeare Company, all those years of playing kings and princes and speaking black verse, and bestriding the landscape of England was nothing but a preparation for sitting in the captain's chair of the Enterprise.
A person sets out to write a poem for a variety of reasons: to win the heart of his beloved; to express his attitude toward the reality surrounding him, be it a landscape or a state; to capture his state of mind at a given instant; to leave - as he thinks at that moment - a trace on the earth.
By avarice and selfishness, and a groveling habit, from which none of us is free, of regarding the soil as property, or the means of acquiring property chiefly, the landscape is deformed, husbandry is degraded with us, and the farmer leads the meanest of lives. He knows Nature but as a robber.
When I come to England, I don't claim England; I don't own it. I feel a great kinship because of the literature and the landscape. I have great affection for Edward Thomas and Philip Larkin, but there's still this distance: looking on at what I'm admiring, separate from what I am. And that's OK.
So he [Sigmund Freud] called this "the uncanny" and he also referred to cities as well, like the idea of walking through the city and the way the urban landscape could lead you to a sense of disorientation and to a kind of, you know, sense of repetition. And the way a city can unfold as you walk.
What I quickly discovered is that our so-called new South Africa has as much material for a story-teller as the old one. The landscape hasn't really changed. Who is in power now is different to who was in power then, but the squatter camps grow like cancer, the rich get richer, the poor get poorer.
A plump, well-fed stream is as satisfying to behold as a well-fed animal or a thrifty tree. One source of charm in the English landscape is the full, placid stream the season through; no desiccated watercourses will you see there, nor any feeble, decrepit brooks, hardly able to get over the ground.
Panorama is the first word for landscape in Greek. It was about [how today] we see everything, we get to see everything, everything is shown to you whether you want it or not, but all of the time you only see fragments of reality. The big picture we really don't see; it's kind of hard to make it up.
I've been doing some acting, writing classes, and taking a holistic approach so I can actually be good at this craft. But ideally I'd eventually want to get my own show and make my 'Atlanta' or my 'Master of None' - whatever that would look like - in whatever media landscape that would best suit it.
What a lumbering poor vehicle prose is for the conveying of a great thought! ... Prose wanders around with a lantern & laboriously schedules & verifies the details & particulars of a valley & its frame of crags & peaks, then Poetry comes, & lays bare the whole landscape with a single splendid flash.
First comes an idea. Then, characters begin to evolve out of the landscape of that idea. And then, finally, characters dominate: plot is simply a function of what these people might do or be. Everything has to flow from their personalities; otherwise it will not be emotionally engaging, or plausible.
'Woman on the Plaza,' with its distinct horizon, snow-like surfaces, wintry wall, stunning sunlight, sharp shadows, and hurrying figure, would become the most biographical of my photographs - an abstract image of the landscape and life of northern Ohio where I grew up and first practiced photography.
I didn't even have that many close LGBT friends or anything like that, but I suppose it was growing up and becoming aware of how you are in a cultural landscape that is blatantly homophobic... you turn around and say, 'Why did I grow up in a homophobic place? Why did I grow up in a misogynistic place?'
I think the kind of landscape that you grew up in, it lives with you. I don't think it's true of people who've grown up in cities so much; you may love a building, but I don't think that you can love it in the way that you love a tree or a river or the colour of the earth; it's a different kind of love.
The reward of the young scientist is the emotional th rill of being the first person in the history of the world to see something or to understand something. Nothing can compare with that experience The reward of the old scientist is the sense of having seen a vague sketch grow into a masterly landscape.
Certainly if I were to think in terms of a field that would have required a different mode of education, I think I would have leaned in the direction of being a therapist. And without the education, or a different kind of education, I think my first choice would be a landscape architect. I love to garden.
Perhaps the most effective way to describe the approach a brand must take is to think of themselves as social cartographers. By that I mean that brands must simultaneously inspire, engage and maintain a series of conversations taking place within certain cultural landscape specific to their business goal.
Certainly the highest posthumous praise that can be conferred upon any writer is the assertion that his or her writing permanently altered the literary landscape for the better, opening new textual doors and engaging new readers. That the author's oeuvre was essential and irreplaceable and transformative.
The horror movie will not go away. Look at the change in the Hollywood landscape as a signifier of its durability. At one point it was just one of many styles of films called 'product' that between, say, 1930 and 1970, the movie city ground out like sausages or hula hoops at a rate of four or five a week.
I don't want to make light of the importance of my musical upbringing, as you cannot avoid being influenced by the area you grow up, but I will say that Reykjavik's geography is very different from, say, New York, Paris, or Copenhagen. There's big skies. The buildings are low. The landscape is spread out.
When I was living in Mexico and writing a book called 'Aztec,' I had to make a deliberate effort to ignore a lot of the 'typically Mexican landscape' around me - banana and citrus groves, roses and carnations, burros and toros - because they did not exist in Mexico in the 15th century, the time of my book.
Landscapes can be deceptive. Sometimes a landscape seems to be less a setting for the life of its inhabitants than a curtain behind which their struggles, achievements and accidents takes place. For those who are behind the curtain, landmarks are no longer only geographic but also biographical and personal
The use of drones is rapidly transforming the way we go to war. On the battlefield, a squad leader can receive real-time data from a drone that enables him to view the landscape for miles in every direction, dramatically expanding the capabilities of what would normally have been a small and isolated unit.
When you're driving into D.C. as a young kid and you go over the Key Bridge and see the Lincoln Memorial, Washington Monument, and Capitol Building, they become a part of the landscape for you. You are also constantly in contact with this idea that history, and the people that made it, are being remembered.
My mother and father, with my newborn brother and me in the backseat of the 1938 Ford sedan that would be our family car for the next decade, moved to that hastily constructed Army ammunition depot called Igloo, on the alkaline and sagebrush landscape of far southwestern South Dakota. I was three years old.
The landscape is a reflection of the inner life. Since I can't shoot the inner life, all I can shoot is the exterior but I know that when I'm filming outside, I'm filming inside. I can only really touch the inside through the mise-en-scene. So through the mise-en-scene of the outside we can explore the inside
One of the things that I tell beginning writers is this: If you describe a landscape, or a cityscape, or a seascape, always be sure to put a human figure somewhere in the scene. Why? Because readers are human beings, mostly interested in human beings. People are humanists. Most of them are humanists, that is.
The moment we realize that the only things we can intelligibly value are actual and potential changes in the experience of conscious beings, we can think about a landscape of such changes - where the peaks correspond to the greatest possible well-being and the valleys correspond to the lowest depths of suffering.
I feel that this is a vocabulary that I grew up with. This biblical landscape is very familiar to me, and it's natural that I use those landmarks as references. Once they were universal references and everybody understood and knew them and located them. That's no longer the case today, but it is still my landscape.
When I was a kid, 'Land of the Lost' was my favorite show, just because it was - in the landscape of Saturday morning cartoons - it was so unique. It was a live-action show and kids were in it, these creatures, these Sleestaks and dinosaurs. Every week was a different adventure. I couldn't wait. I loved it so much.
Although my values and my morals are old-school, you have to kind of key into the landscape of social media and how the world is progressing. I'd be a fool to sit there and go, 'Yeah, let's use the telephone to telemarket myself'... Social media is something that I definitely have to tap into, to another demographic.
Indians walk softly and hurt the landscape hardly more than the birds and squirrels, and their brush and bark huts last hardly longer than those of wood rats, while their more enduring monuments, excepting those wrought on the forests by the fires they made to improve their hunting grounds, vanish in a few centuries.
The landscape of my days appears to be composed, like mountainous regions, of varied materials heaped up pell-mell. There I see my nature, itself composite, made up of equal parts of instinct and training. Here and there protrude the granite peaks of the inevitable, but all about is rubble from the landslips of chance.
I wanted to do is kind of invoke that and then dive into that kind of repetition as a DJ thing because DJing you hear beats, like "boom, boom, boom, bap, bap." You know hip hop, house, techno. So how do you translate between those electronic motifs and the motifs of the landscape itself? That is what I wanted to go for.
The old process of social assimilation used to be mainly about English new money - generated in London, the mucky, brassy North or the colonies - buying those houses and restoring them, and doing the three-generation thing, mouldering into the landscape, and the 'community,' identifying with the place in a familiar way.