Quotes of All Topics . Occasions . Authors
There is no need for neighborhood informants and paper dossiers if the government can see citizens' every Web site visit, e-mail and text message.
I don't care how someone lives or how good their spoken English is. I do all of my interviews on Skype text chat - all that matters is their work.
Just because #ad or #spon is there doesn't mean I'm only doing it for money. I make sure, in the text, that it's very obvious that I'm having fun.
Remember daydreams? No, of course you don't. How could you? Three new text messages have just arrived, and another three, in a moment, will go out.
A text conversation is a short exchange of often grossly truncated language that corresponds to a thought made all the more shallow by the process.
My writing is not just all facts and voices. I strive to create a text that works as a sign, pointing out undercurrents that lie beneath the facts.
That's kind of something we - my team and I - text each other a lot. Anytime something great happens, we're like, 'Hey, look, the song's #17. Boom!'
Anyone who teaches knows that you don't really experience a text until you've taught it, in loving detail, with an intelligent and responsive class.
It only took one text message to change my life. That's when I discovered my loving husband had been unfaithful. His infidelities ended our marriage.
People will email me and text me if they've found an amazing loo. I'm like, 'How was the food?' They'll say, 'Fine, but you have to check out the loo.'
The occasion of this sadness is expressed in a word, but must be considered in many more, as being the principal concernment both of the Text and Time.
Oceans of emotion can be transmitted through a text message, an emoji sequence, and a winking semicolon, but humans are hardwired to respond to visuals.
What I can't tell with a photo I will tell with a painting, and what I can't tell with a painting I will tell with a video or text sometimes, et cetera.
My boyfriend and I don't get to live in the same city all the time, and the fact that I can text him or call him or even Skype with him is so wonderful.
Many readers fail to realize this, but 'The Color Purple' is a theological text. It is about the reclamation of one's original God: the earth and nature.
Everybody knows that footballers have text groups on WhatsApp. I have one just for my friends from home, and I have another just for my Barca team-mates.
I think of myself as a problem-solver. I want to go in and help the director and the writer to get the best they can out of the text they're working with.
As a biblical inerrantist, I believe that what the Bible teaches is true and bow to the text, including its teaching about the Flood and its universality.
People's behavior will change with technology. I know very few young people who can't type out a text message on their phone with one thumb, for instance.
I did my English A level in England, and we studied Shakespeare. I had great, great high school teachers, and we parsed the text within an inch of its life.
The first text I ever got was somebody breaking plans on a first date. That was, like, the worst way to be introduced to a new technology is with rejection.
Sometimes it seems like there's more footnotes than text. This isn't something we're proud of, and over time we'd like to see our footnotes steadily shrink.
I would define the poetic effect as the capacity that a text displays for continuing to generate different readings, without ever being completely consumed.
Then one day I thought it would be wonderful to make a whole book, to make my text and my drawings together, and that's how I started doing children's books.
The first scholarly edition of Magna Carta was published by the eminent jurist William Blackstone. It was not an easy task. There was no good text available.
If there's ever a place where you can't argue that you can put the facts over here and the text over there and see if they fit, it is surely in anthropology.
People aren't used to thinking of cultural forms spreading out across the full range of formal interactions - or what is called the 'text' in literary terms.
Singing beautiful melodies is one thing, but to deliver the text so that the people understand it, even in a foreign language, has to be worked at very hard.
Really, the impetus driving me is I've always sung, but I like to act, I like drama, I like text, which is why opera is something I've come late to, I'd say.
I am always impressed by interviewers who can do the whole thing without notes. I can't. I need reminders on my knee. Dates, first names, quotes in bold text.
As people talk, text and browse, telecommunication networks are capturing urban flows in real time and crystallizing them as Google's traffic congestion maps.
I write by hand and then transfer the text onto the computer. I like the process of actually having a pen in my hand. Things flow more easily for me that way.
The poem is a form of texting... it's the original text. It's a perfecting of a feeling in language - it's a way of saying more with less, just as texting is.
Email is not the simple exchange of text messages. Email is the electronic version of the interoffice mail system used for formal letter or memo communication.
People say that text messaging is a new language and that people are filling texts with abbreviations - but when you actually analyse it, you find they're not.
Comics don't work if the story is all in the text and the images are illustrative. It's hard to have enough faith in the artists to allow them to do their job.
Preaching a series allows you to go into greater depth in the text, and spending several weeks on one theme allows the teaching to be absorbed more thoroughly.
You have to help your players understand that when they speak to the media, or when they tweet or text or e-mail, a lot of times, they become public knowledge.
I want Punjabi film industry to make it's way into the text books, so that when children read about this industry they should know how it reached to its glory.
Everything on mobile seems a lot quicker. You have direct access to each individual fan, and they can respond to you just as quickly as you sent a text message.
When you make as many speeches and you talk as much as I do and you get away from the text, it's always a possibility to get a few words tangled here and there.
You sit there, and you argue and you argue, and you sort of bully the hell out of the text until you're quite sure what it's revealing, and then you perform it.
My general working style is to write everything first with pencil and paper, sitting beside a big wastebasket. Then I use Emacs to enter the text into my machine.
I think hearing kids my age miss out on genuine connections already because they text so much, and then they feel awkward when they are face to face with someone.
My need is about communicating the whole, and when the whole is there in the text and in what the actors are doing, then it doesn't need 'frou-frou,' as I call it.
I think that we're reducing who we are as human beings to these cell phones and these devices; now we don't even want to pick up a telephone to talk - we just text.
There often is a dark secret in books... There is often a gathering sense of dread; there's a gap sometimes in the text from which all kinds of monsters can emerge.
What I don't find compelling is doing classical plays that everyone already knows - and people are following with the text in their hand because no one is listening.
The spirits of Havelock Ellis, Magnus Hirschfeld and Richard Freiherr von Krafft-Ebbing waft through the text to lend 'The Third Sex' an air of scientific authority.
We're given the springboard of the text, a plane ticket, told to report to Alabama, and there's a group of people all ready to make a film and it's a marvelous life.