Quotes of All Topics . Occasions . Authors
Is love the desire—no, the need—to be with that person, whatever the cost? Does it cause the rue of rage when you see that person with another? Does it make you ache to hold her, to whisper things that sound foreign and strange to your tongue? Does it make you wish for things you know can never be? I haven't the answers, Riley. In all that I've learned over the years, no one has ever mentioned a force such as this. But whatever it is, I feel it for you. We would have been good together.
So if we're all quarks and electrons ..." he begins. What?" We could make love and it would be nothing more than quarks and electrons rubbing together." Better than that," I say. "Nothing really 'rubs together' in the microscopic world. Matter never really touches other matter, so we could make love without any of our atoms touching at all. Remember that electrons sit on the outside of atoms, repelling other electrons. So we could make love and actually repel each other at the same time.
The movie that we could've finished in 2001 would've sucked. The movie that we could've finished in 2002 would've just been a disaster, even into 2003, it would've been very cobbled together, amateuristic stuff. But as we went along, we really did stumble upon some accidental themes, and with the things you could do with computers, and all that sort of stuff just sort of really accelerated into where the stuff that we could do right here at my house became - you could almost do anything.
It is prima facie highly implausible that life as we know it is the result of a sequence of physical accidents together with the mechanism of natural selection. We are supposed to abandon this naïve response, not in favor of a fully worked out physical/chemical explanation but in favor of an alternative that is really a schema for explanation, supported by some examples. What is lacking, to my knowledge, is a credible argument that the story has a nonnegligible probability of being true.
But the origin of the American Republic is distinguished by peculiar circumstances. Other nations have been driven together by fear and necessity-the governments have generally been the result of a single man's observations; or the offspring of particular interests. In the formation of our constitution, the wisdom of all ages is collected-the legislators of antiquity are consulted-as well as the opinions and interests of the millions who are concerned. In short, it is an empire of reason.
In the first season (of 'Californication'), when we had the threesome with the nipple clamps, I was, like, 'I don't get this, I don't know how you're gonna do it.' And then, all of a sudden, there's a crane with a camera hanging over our heads, and you're, like, 'Okayyyyyyy. But how are you gonna sell this? How are you gonna make it work?' And they ended up shooting it brilliantly, cutting it together, and it just all ended up working without me having to compromise my own personal morals.
From the Balkans to Africa, from Asia to the Middle East, we have witnessed the weakening or absence of effective governance leading to the ravaging of human rights and the abandonment of longstanding humanitarian principles. We need competent and responsible states to meet the needs of "we the peoples" for whom the UN was created. And the world's peoples will not be fully served unless peace, development and human rights, the three pillars of the UN, are advanced together with equal vigour.
I think Julianne Moore is very, very good. I've worked with her. We did Surviving Picasso. I remember one scene we did together. She had to have a nervous, a mental, breakdown in this one scene. I didn't have many lines. I just had to make sure I knew I came in on cue all right. And I was just watching her walking though the rehearsal. I thought I know what she's doing, "This is going to be terrific." So they said, "Are you ready" and she said, "Yeah," "Ok, roll the camera." And all in one take.
I tend to shoot really quick so you don't get the problems you might get on a traditional film where you shoot one way, then another, and it's pissing down with rain and they won't cut together. We shoot so fast we can incorporate the weather into it. The worst weather we had was when they were in the caravan up the mountain and there was no cover. One man's weather is another man's production value. To create the sleet would cost a fortune but we got it for free so we'll just have to go with it.
The master-economist must possess a rare combination of gifts. He must reach a high standard in several different directions and must combine talents not often found together. He must be mathematician, historian, statesman, philosopher - in some degree. He must understand symbols and speak in words. He must contemplate the particular in terms of the general, and touch abstract and concrete in the same flight of thought. He must study the present in the light ofthe past for the purposes of the future
Eva is a story of repetition. It is a story where our protagonist faces the same situation many times over and determinedly picks himself back up again. It is a story of the will to move forward, even if only a little. It is a story of the resolve to want to be together, even though it is frightening to have contact with others and endure ambiguous loneliness. I would be most gratified if you found enjoyment in these four parts as it takes the same story and metamorphoses it into something different.
I find myself skeptical of music that forces you to have a certain experience, emotional reaction, or specific constructive arc of experience. But performers should still take care of that, to a certain extent - how does it add up? What you want from performance, because we're all in a room together, is that somehow we've gotten somewhere at the end, together. You could call that a sense of narrative, but it's not so obvious how that happens. One way it happens is by everyone caring about it happening.
So we must lay it down that the association which is a state exists not for the purpose of living together but for the sake of noble actions. Those who contribute most to this kind of association are for that very reason entitled to a larger share in the state than those who, though they may be equal or even superior in free birth and in family, are inferior in the virtue that belongs to a citizen. Similarly they are entitled to a larger share than those who are superior in riches but inferior in virtue.
Not all of them, but certainly there's some really, really dramatic differences among apples. And what you learn if you have that number of varieties is you learn which Apple is good for which purpose. So I have a favorite apple for apple pie. It's called Bramley Seedling. It's a old British Apple. I blend a lot of these apples together that make apple cider every year. It's a great hobby, but it's, you know, it takes some time. And it can be frustrating when the Japanese beetles or the gypsy moths come.
I was researching some of the modern-day figures that The Sopranos were moulded on. So many iconic Sopranos moments. James Gandolfini and Edie Falco had an incredible scene together in the kitchen of that house that looked like it was about to explode. That was an iconic series that changed the way we did television. It is also an extremely realistic portrayal of the mafia. Much more so than The Godfather. The Godfather, one of the greatest films ever, but let's face it, a romanticized version of the mob.
One of the things I always underscore when I teach criticism is that young critics, or would be critics, frequently have this illusion that if they write about music they're somehow part of music, or if they write about movies they're part of movies, or of they write about theater they're part of theater, or write about literature. Writing is a part of literature, we belong the species of literature. If you add all the music reviews together that have ever been written, they don't create two notes of music.
Education cannot be neutral. It is either positive or negative; either it enriches or it impoverishes; either it enables a person to grow or it lessens, even corrupts him. The mission of schools is to develop a sense of truth, of what is good and beautiful. And this occurs through a rich path made up of many ingredients. This is why there are so many subjects - because development is the results of different elements that act together and stimulate intelligence, knowledge, the emotions, the body, and so on.
Such is the common process of marriage. A youth and maiden exchange meeting by chance, or brought together by artifice, exchange glances, reciprocate civilities, go home, and dream of one another. Having little to divert attention, or diversify thought, they find themselves uneasy when they are apart, and therefore conclude that they shall be happy together. They marry, and discover what nothing but voluntary blindness had before concealed; they wear out life in altercations, and charge nature with cruelty.
Things are going so well. We’re volleying words back and forth. Everything she says, I have something I can say back. We’re sparking, and part of me just wants to sit back and watch. We’re clicking. Not because a part of me is fitting into a part of her. But because our words are clicking into each other to form sentences and our sentences are clicking into each other to form dialogue and our dialogue is clicking together to form this scene from this ongoing movie that’s as comfortable as it is unrehearsed.
For me, I don't really feel like I have any particular main influences or artists that I pull from; it's more of an underlying effect of such a big range of music that I love and I identify with - and all of that plays into what I do in minimal ways. I just really try to make music that reflects my identify, which is hard to pin down and is a lot of different things. I strive to make music that is hard to describe and meshes a lot of different genres, with the vocals being the thing that ties it all together.
I wrote the poems in Charms Against Lightning one by one, over almost a decade, and I did not write them toward any theme or narrative. But once I really got serious about putting together a book, I began to see that in fact there were themes across the poems, if only because my own obsessions had brought me back time and again to the same ground. I realized that any ordering of the poems would determine how those themes developed over the manuscript, and how the collection's dramatic conflicts were resolved.
I was always interested in music, I felt it was time to do it, coming out of the punk scene [1979]. I thought it was ideal that anyone could just put together a group and make it work. Then, of course, it became a little more detailed after starting it and realizing that it was something serious, not just a one-off situation. I had to put a lot more into it. Also I did it to get a lot of things out of my system, things that had been put there while I was growing up in my family. A sort of exorcizing of demons.
..I sought a world philosophy-or an integral philosophy-that would believably weave together the many pluralistic contexts of science, morals, aesthetics, Eastern as well as Western philosophy, and the world's great wisdom traditions. Not on the level of details-that is finitely impossible; but on the level of orienting generalizations: a way to suggest that the world really is one, undivided, whole, and related to itself in every way: a holistic philosophy for a holistic Kosmos, a plausible Theory of Everything.
In some ways I spend longer at non-fiction because there are a lot of different threads to bring together. But non-fiction is more reflective than immersive. The problem with fiction sometimes is that you have to leave the real world to enter the fictional one. And that takes so much, goes into your head for so long . . . I don't know, I just feel less inclined toward that these days, and more inclined to remain in my own life. I do like really good fiction, but it's getting harder to hold my attention in a novel.
Rather than thinking of sound and sense in my essays as two opposing principles, two perpendicular trajectories, as they are often considered in conversations around translation, or even as two disassociated phenomena that can be brought together to collaborate with more or less success, I think of sound as sense. Sound has its own meaning, and it's one of the many non-semantic dimensions of meaning in language. I want to emphasize is the formal dynamic between language-as-information and language-as-art-material.
The question is: exactly how did life get here? Was it by natural selection and random mutation or was it by something else? Everybody - even Richard Dawkins - sees design in biology. You see this design when you see co-ordinated parts coming together to perform a function - like in a hand. And so it's the appearance of design that everybody's trying to explain. So that if Darwin's theory doesn't explain it we're left with no other explanation than maybe it really was designed. That's essentially the design argument.
Berlin is still a very edgy place, a very cosmopolitan place. It's a place where completely different ideas and cultures come together and clash in a very warm way. In a very warm-hearted way. It's a very young city. It's a vibrant city. It's an exciting city. It's a city that's also scarred by history. I think that's to be celebrated and graffiti is to be celebrated. Graffiti in Berlin is very different than when they spray something on the wall dividing the west bank and Israel. And should be treated as such in Berlin.
Choking with dry tears and raging, raging, raging at the absolute indifference of nature and the world to the death of love, the death of hope and the death of beauty, I remember sitting on the end of my bed, collecting these pills and capsules together and wondering why, why when I felt I had so much to offer, so much love, such outpourings of love and energy to spend on the world, I was incapable of being offered love, giving it or summoning the energy with which I knew I could transform myself and everything around me.
Mr. Darwin's hypothesis is not, so far as I am aware, inconsistent with any known biological fact; on the contrary, if admitted, the facts of Development, of Comparative Anatomy, of Geographical Distribution, and of Palaeontology, become connected together, and exhibit a meaning such as they never possessed before; and I, for one, am fully convinced that if not precisely true, that hypothesis is as near an approximation to the truth as, for example, the Copernican hypothesis was to the true theory of the planetary motions.
What's interesting in scripted TV is different than what's interesting in reality TV. Each of their departments have their development process where they package things and put together the writers and put together the producers and the different elements and develop the projects. By the time you get to a network or to a studio, you're able to say this is the project, here's who the producer is, sometimes even here's who the star is, here's who the writer is. It's a well-developed project by the time it gets to the studios.
Atten. Pray of what disease did Mr. Badman die, for now I perceive we are come up to his death? Wise. I cannot so properly say that he died of one disease, for there were many that had consented, and laid their heads together to bring him to his end. He was dropsical, he was consumptive, he was surfeited, was gouty, and, as some say, he had a tang of the pox in his bowels. Yet the captain of all these men of death that came against him to take him away, was the consumption, for it was that that brought him down to the grave.
Every singer has three or four or five techniques, and you can force them together in different combinations. Some of the techniques you discard along the way, and pick up others. But you do need them. It's just like anything. You have to know certain things about what you're doing that other people don't know. Singing has to do with techniques and how many you use at the same time. One alone doesn't work. There's no point to going over three. But you might interchange them whenever you feel like it. It's a bit like alchemy.
He sat watching the people go by, wondering how a thing of this sort could have come about, I must have let myself get mixed up in something horrible, he thought ... Probably she's the one who did it; I have no control of myself or anything that's happened. So now I'm waking up. I'm awake, he thought ... I've been destroyed and now that I'm awake all I can do is realize it ... The shock of getting up there and telling that account made me see. Mixture of lies and bits of truth. Woven together. Unable to see where each starts.
Yet at the last Beren was slain by the Wolf that came from the gates of Angband, and he died in the arms of Tinúviel. But she chose mortality, and to die from the world, so that she might follow him; and it is sung that they met again beyond the Sundering Seas, and after a brief time walking alive once more in the green woods, together they passed, long ago, beyond the confines of this world. So it is that Lúthien Tinúviel alone of the Elf-kindred has died indeed and left the world, and they have lost her whom they most loved.
And there was some trouble with Oliver Cowdery, and whisper said it was relating to a girl then living in his family; and I was afterwards told by Warren Parish, that he himself and Oliver Cowdery did not that Joseph had Fannie Alger as wife, for they were spied upon and found together. And I can now see that at Nauvoo, so at Kirtland, that the suspicion or knowledge of the Prophet's plural relation was one of the causes of apostasy and disruption at Kirtland, although at the time there was little said publicly on the subject.
When our people were fed out of the common store, and laboured jointly together, glad was he could slip from his labour, or slumber over his taske he cared not how, nay, the most honest among them would hardly take so much true paines in a weeke, as now for themselves they will doe in a day: neither cared they for the increase, presuming that howsoever the harvest prospered, the generall store must maintaine them, so that wee reaped not so much Corne from the labours of thirtie, as now three or foure doe provide for themselves.
Nature consists of facts and of regularities, and is in itself neither moral nor immoral. It is we who impose our standards upon nature, and who in this way introduce morals into the natural world, in spite the fact that we are part of this world. We are products of nature, but nature has made us together with our power of altering the world, of foreseeing and of planning for the future, and of making far-reaching decisions for which we are morally responsible. Yet, responsibility, decisions, enter the world of nature only with us
Vin Diesel and I have different approaches to life. We found a respect for one another but we were such opposite ends of the spectrum. The reason why it's worked is because we are so different. I don't know if we necessarily found a stride together because there are certain days I still want to crack him in the head! But he looks at me and there are days he wants to crack me in the head too. Then there are times he'll look at me and say, 'Man, I wish I could be more like you,' and I'm like, 'F**ker, I wish I could be more like you!'
Extended families have never been the norm in America; the highest figure for extended-family households ever recorded in Americanhistory is 20 percent. Contrary to the popular myth that industrialization destroyed "traditional" extended families, this high point occurred between 1850 and 1885, during the most intensive period of early industrialization. Many of these extended families, and most "producing" families of the time, depended on the labor of children; they were held together by dire necessity and sometimes by brute force.
Under the discipline of unity, knowledge and morality come together. No longer can we have that paltry 'objective' knowledge so prized by the academic specialists. To know anything at all becomes a moral predicament. Aware that there is no such thing as a specialized effect, one becomes responsible for judgments as well as facts. Aware that as an agricultural scientist he had 'one great subject,' Sir Albert Howard could no longer ask, What can I do with what I know? without at the same time asking, How can I be responsible for what I know?
For me, it is clear that we are currently in a period of structural crisis of capitalism going back to the 1970s, but deepening in our time. Persistent economic stagnation together with neoliberal austerity has at this point seriously undermined the stability of the liberal-democratic state and thus the political command sector of the capitalist system. This has led to a dangerous resurgence of political movements in the fascist genus, representing an alternative way of managing the state of the capitalist system, opposed to liberal democracy.
I must perish in this deplorable folly. Thus, thus, and not otherwise, shall I be lost. I dread the events of the future, not in themselves, but in their results. I shudder at the thought of any, even the most trivial, incident, which may operate upon this intolerable agitation of soul. I have, indeed, no abhorrence of danger, except in its absolute effect-in terror. In this unnerved-in this pitiable condition-I feel that the period will sooner or later arrive when I must abandon life and reason together, in some struggle with the grim phantasm, FEAR.
What's happening in the larger world always influences art. When I first started the gallery in 1959, one of the first things I learned was that most people assume artists know one thing and one thing only - that they were idiot savants. I found very quickly that most artists were very informed and very aware of what was happening in the world around them. So all of those things go together, especially for earthworks. And at that time there was such an intense interest in American art. So there was a great deal of attention paid to where it was going.
People get together and they donate to organizations so that a pile of money can be used to create a message that can be broadcast en masse as part of the a political campaign. They are the lifeblood of Hillary Clinton campaign, the banks and all these big time rich people from Hollywood and Silicon Valley are the mother's milk of her campaign. They are the money. She just doesn't want Donald Trump to have it or any other Republican to have it or any average citizen to be able to bundle his money with other people's money and create an ad or a campaign.
It's a beautiful day in this neighborhood, A beautiful day for a neighbor. Would you be mine? Could you be mine?... It's a neighborly day in this beauty wood, A neighborly day for a beauty. Would you be mine? Could you be mine?... I've always wanted to have a neighbor just like you. I've always wanted to live in a neighborhood with you. So, let's make the most of this beautiful day. Since we're together we might as well say: Would you be mine? Could you be mine? Won't you be my neighbor? Won't you please, Won't you please? Please won't you be my neighbor?
My first job was actually as a social worker. And then later, I got my PhD in anthropology. And I've always been interested in humans as well as primates. We are all kind of have the same emotions, the same goals and lives really. But to me, when I first got to Madagascar I realized that the lemurs lives are very closely related to what the humans are doing; partially because they've got both looking for natural resources. And if we can make some way that both humans and lemurs can live together peaceably and happily, that would be my goal for Madagascar.
I want my records to be the most magnificent and glorious-sounding records, but also want them to be the most intense and fragile. And I want that all in the same ten-second bit of music. And it just takes a while to get there, and I don't write the songs and then go and record them, I write in the studio. So it takes a while to kind of piece them together and know that that's what I want it to be like. And I constantly throw the bits up in the air and see how they land, and eventually they kind of keep landing in the same place and that's where it stays.
And you won’t leave me?” “No.” Alec said. “No, we won’t ever leave you. You know that.” “Never.” Isabelle took his hand, the one Alec wasn’t holding, and pressed it fiercely. “Lightwoods, all together.” She whispered. Jace's hand was suddenly damp where she was holding it, and he realized she was crying, her tears splashing down crying for him, because she loved him; even after everything that had happened, she still loved him. They both did. He fell asleep like that, with Isabelle on one side of him and Alec on the other, as the sun came up with the dawn.
Students at residential universities often live together and spend time on activities that aren't connected with the university. Then, should the university's rules about sexual consent extend to students' private lives? In my book, I argue that these narrow rules should extend to students' private lives no matter what or where they happen to be conducting those lives. The logic is that sexual assault is a form of discrimination and denies the victim an equal education. The point of university life is to get that diploma and nothing should stand in the way.
India does not need to become anything else. India must become only India. This is a country that once upon a time was called 'the golden bird'. We have fallen from where we were before. But now we have the chance to rise again. If you see the details of the last five or ten centuries, you will see that India and China have grown at similar paces. Their contributions to global GDP have risen in parallel, and fallen in parallel. Today's era once again belongs to Asia. India and China are both growing rapidly, together. That is why India needs to remain India.