Quotes of All Topics . Occasions . Authors
Beauty is no dead thing. It is the manifestation of God in nature. There is not one object in nature untouched by man that is not beautiful, for God's manifestation is beauty. It shines through all His works, and not only in those that may give pleasure to man.
The North understand it better - they have told us for twenty years that their object was to pen up slavery within its present limits - surround it with a border of free States, and like the scorpion surrounded with fire, they will make it sting itself to death.
The object of my relationship with Vietnam has been to heal the wounds that exist, particularly among our veterans, and to move forward with a positive relationship,... Apparently some in the Vietnamese government don't want to do that and that's their decision.
Our object in these remarks has been not only to account for the slow progress which has as yet been made by Political Economy, and to suggest means by which its advancement may be accelerated, but also to warn the reader of the nature of the following Treatise.
My paramount object in this struggle is to save the Union, and is not either to save or to destroy slavery. If I could save the Union without freeing any slave, I would do it; and if I could save it by freeing some and leaving others alone, I would also do that.
When asked what he was fighting for, General Washington, in writing to General Thomas, said the object was 'neither glory nor extent of territory, but a defense of all that is dear and valuable in life.' He must have been an umpire. That's what umpiring is about.
When you're doing a deal with someone in the southern Sahara, it's a very different way of doing business than in London. You can't sign them in the usual way because they'd end up getting ripped off, which would defeat the object of setting up a label like this.
This means that the mind or spirit is present anywhere, because it is nowhere attached to any particular place. And it can remain present because, even when related to this or that object, it does not cling to it by reflection and thus lose its original mobility.
What happens is young girls see images of women being objectified, and the more the woman becomes an object the more followers and likes she has - they see that as a role model and try to imitate these women, but they're not old enough to know what they're doing.
We object not to the narration of the deeds of our unregenerate condition, but to the mode in which it is too often done. Let sin have its monument, but let it be a heap of stones cast by the hands of execration - not a mausoleum erected by the hands of affection.
I object to the hegemony of form in contemporary architecture. We have very advanced technological tools, but ultimately, we create buildings exactly like we used to before: We send the drawings to an engineer and let him struggle with figuring out how to build it.
Old Newtonian physics claimed that things have an objective reality separate from our perception of them. Quantum physics, and particularly Heisenberg's Uncertainty Principle, reveal that, as our perception of an object changes, the object itself literally changes.
Men we shall have only as we make manhood the object of the work of the schools - intelligence, broad sympathy, knowledge of the world that was and is, and of the relation of men to it - this is the curriculum of that Higher Education which must underlie true life.
I am intrigued with the shapes people choose as their symbols to create a language. There is within all forms a basic structure, an indication of the entire object with a minimum of lines that becomes a symbol. This is common to all languages, all people, all times.
'Commercial' is not the word that has to be said only by CEOs. It has to be something that is maybe the essence of design, because design has some sort of art in it and creation, but it's also some object that you have to use. There is also this pragmatic end to it.
I remember an old Singer sewing machine at home that belonged to my grandmother. It had a pedal. My mom taught me how to use it when I was 12 years old. I used to find it so intriguing, how a flat piece of material could be made into an object that had so many uses.
My views of the missionary object are, indeed, different from what they were when I was first set on fire by Buchanan's 'Star in the East' six years ago. But it does not always happen that a closer acquaintance with an object diminishes our attachment and preference.
We can't give the truth to someone as an object, we can only point to it, inviting inspection. It is in that spirit that we can hear or read a teaching and then look at our own lives, at our own experiences to see whether anything might have been revealed about them.
A line, an area of tone, is not really important because it records what you have seen, but because of what it will lead you on to see. Following up its logic in order to check its accuracy, you find confirmation or denial in the object itself or in your memory of it.
Unconditional love really exists in each of us. It is part of our deep inner being. It is not so much an active emotion as a state of being. It's not 'I love you' for this or that reason, not 'I love you if you love me.' It's love for no reason, love without an object.
In the beginning, the cubists broke up form without even knowing they were doing it. Probably the compulsion to show multiple sides of an object forced us to break the object up - or, even better, to project a panorama that unfolded different facets of the same object.
On embarking to return we could perceive no sign of One Tree Island; and as we swept down towards the sea the leafy top of a tree seen in the clear water under the boat was the only evidence of its existence; though a few hours ago it had formed so prominent an object.
Man is a spiritual intelligence, who has taken flesh with the object of gaining experience in worlds below the spiritual, in order that he may be able to master and to rule them, and in later ages take his place in the creative and directing hierarchies of the universe.
I like to think of Photography 1.0 as the invention of photography. Photography 2.0 is digital technology and the move from film and paper to everything on a chip. Photography 3.0 is the use of the camera, space, and color and to capture an object in the third dimension.
My design always has a political agenda. When I borrow components from various cultures and juxtapose them in an object, it is a message that co-existence is indeed possible. Design creates an ideal world where different ideas live close to each other in perfect harmony.
A lot of journalism wants to have what they call objectivity without them having a commitment to pursuing the truth, but that doesn't work. Objectivity requires belief in and a commitment toward pursuing the truth - having an object outside of our personal point of view.
I decided to be an actress, and the day after, I was an actress. That was quick and very scary at the same time. When 'Obscure Object of Desire' came out in France, I felt guilty for my friends at the National School who weren't in the movies. The whole thing was turmoil.
But here's the deal: If I were smart, I could figure out curling. If I were even smarter, I could figure out why people would actually watch other people doing it. I have tried. I can't. I can't even figure out the object of the game. Is it like darts? I just don't get it.
Every kid has a toy that they believe is their best friend, that they believe communicates with them, and they imagine it being alive, their toy horse or car or whatever it is. Stop-motion is the only medium where we literally can make a toy come to life, an actual object.
When I am finishing a picture, I hold some God-made object up to it - a rock, a flower, the branch of a tree or my hand - as a final test. If the painting stands up beside a thing man cannot make, the painting is authentic. If there's a clash between the two, it's bad art.
In the numerous observations made in my laboratory upon this object, we have only once seen a combination of vessels in which there might be a direct communication between a small artery and a vein, though the two observers could not come to a final conclusion on the point.
I have never collected an object or figure from Africa or Oceania because of anything curious about it or because of its utility or historic interest. Everything has been chosen entirely because of its aesthetic significance; its form, feeling, structure, and plastic values.
We know even from ordinary life that we have to achieve a sufficient degree of attentiveness if we want to concentrate on an inner picture or an object of some kind; we must also have it in our power, though, to turn our soul away from something we have been concentrating on.
In the West there has always been the attempt to try make the religious building, whether it's a Medieval or Renaissance church, an eternal object for the celebration of God. The material chosen, such as stone, brick, or concrete, is meant to eternally preserve what is inside.
The corncob was the central object of my life. My father was a horse handler, first trotting and pacing horses, then coach horses, then work horses, finally saddle horses. I grew up around, on, and under horses, fed them, shoveled their manure, emptied the mangers of corncobs.
Any object, whether animate or inanimate, will have a size. Airplanes, boats, or musical string instruments vary in size just like animals and plants, and in all cases, their size and their material construction are totally different matters even though they affect one another.
My work comes out of a deep psychological place, so it's not like I'm Object Man at home. Theoretically, I'm not against objects, but, personally, I'm not comfortable attaching myself to them - I don't seek them out. What you can say about my home is that it's not very ambitious.
All the analysis of infinite reality which the finite human mind can conduct rests on the tacit assumption that only a finite portion of this reality constitutes the object of scientific investigation, and that only it is 'important' in the sense of being 'worthy of being known.'
Even in making objects, as soon as you start to get the feeling that some form of craft is coming into place, you realize that everything is wrong. Because craft is really just a fetish. It is wasted energy. It's about the object, some space which has nothing to do with the human.
Above all else stands the burning question of bipartisanship. Whatever else the politicians might say they're about, our news analysts know that this is the true object of the nation's desire, the topic to which those slippery presidential spokesmen need always to be dragged back.
Adventure games are all about details - if you happen to take this one object and use it with this other object, in a really weird place, at a weird time. If you happen to write a really funny dialogue line for that, even if it didn't solve the puzzle, people will appreciate that.
Every decently-made object, from a house to a lamp post to a bridge, spoon or egg cup, is not just a piece of 'stuff' but a physical embodiment of human energy, testimony to the magical ability of our species to take raw materials and turn them into things of use, value and beauty.
I realized there might be monetary or financial reasons to jump in and write a 'Winter's Bone Retriumphs' or something, and nobody would object to me doing that in publishing. But it would be a waste of my time, and they always take a little longer than you thought they would take.
A man is, after all, what he loves. But one always feels cornered when asked to explain why one loves this or that person, and what for. In order to explain it - which inevitably amounts to explaining oneself - one has to try to love the object of one's attention a little bit less.
You'll see in 'Carol' a lot of shots shot through windows, glass and awnings, with interruptions between where we are and where our object is. To me, I hope that that conjures the whole act of looking as a predicament, as something that is never easy and never completely attainable.
Talking about dreams is like talking about movies, since the cinema uses the language of dreams; years can pass in a second, and you can hop from one place to another. It's a language made of image. And in the real cinema, every object and every light means something, as in a dream.
Let us display our loyalty and love and embrace every opportunity to become wealthy and strong; let our first object be the veneration of the Imperial Court, which vouchsafes its protection to the commonwealth, and let those who hold the reins of government consider the general good.
I never was deeply interested in any object; I never prayed sincerely and earnestly for anything, but it came at some time - no matter how distant, in some way, in some shape, probably the last I should have devised, it came. And yet, I have always had so little faith. God forgive me.
I find that when I'm struggling to think of how a six-year-old would feel about something, I just have to go right down to the common denominator, find the simplest way that you can look at an object or a problem, and not muck it up with all of the stuff that adults do and over-analyze.
For myself, the only way I know how to make a book is to construct it like a collage: a bit of dialogue here, a scrap of narrative, an isolated description of a common object, an elaborate running metaphor which threads between the sequences and holds different narrative lines together.