Wall Quotes - Page 87

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Let me list to you some of the things that we've done in just a short period of time. Again, each of these actions is a promise I made to the American people. We've withdrawn from the job-killing disaster known as Trans-Pacific Partnership. We're going to make trade deals, but we're going to have one-on-one deals, bilateral. We are now in the process of beginning to build a promised wall on the southern border. We've begun preparing to repeal and replace Obamacare.

The aim of every artist is to arrest motion, which is life, by artificial means and hold it fixed so that a hundred years later, when a stranger looks at it, it moves again since it is life. Since man is mortal, the only immortality possible for him is to leave something behind him that is immortal since it will always move. This is the artist's way of scribbling "Kilroy was here" on the wall of the final and irrevocable oblivion through which he must someday pass.

There is sweet music here that softer falls Than petals from blown roses on the grass, Or night-dews on still waters between walls Of shadowy granite, in a gleaming pass; Music that gentlier on the spirit lies, Than tir'd eyelids upon tir'd eyes; Music that brings sweet sleep down from the blissful skies. Here are cool mosses deep, And thro' the moss the ivies creep, And in the stream the long-leaved flowers weep, And from the craggy ledge the poppy hangs in sleep.

She went out in the city with its lights like a radioactive phosphorescence, wandered through galleries where the high-priced art on the walls was the same as the graffiti scrawled outside by taggers who were arrested or killed for it, went to parties in hotel rooms where white-skinned, lingerie-clad rock stars had been staying the night their husbands shot themselves in the head, listened to music in nightclubs where stunning boyish actors had OD'd on the pavement.

Instead of "I love you," it would be better to say "I am love-I am the embodiment of Pure Love." Remove the I and you, and you will find that there is only Love. It is as if Love is imprisoned between the I and you. Remove the I and you, for they are unreal; they are self-imposed walls that don't exist. The gulf between I and you is the ego. When the ego is removed the distance disappears and the I and you also disappear. They merge to become one - and that is Love.

Who is left in the ghetto is the one man in a thousand in any age, in any culture, who through some mysterious workings of force within his soul will stand in defiance against any master. He is that one human in a thousand whose indomitable spirit will not bow. He is the one man in a thousand whose indomitable spirit cannot bow. He is the one man in a thousand who will not walk quietly to Umschlagplatz. Watch out for him, Alfred Funk, we have pushed him to the wall.

And what are you that, missing you, I should be kept awake As many nights as there are days With weeping for your sake? And what are you that, missing you, As many days as crawl I should be listening to the wind And looking at the wall? I know a man that’s a braver man And twenty men as kind, And what are you, that you should be The one man in my mind? Yet women’s ways are witless ways, As any sage will tell,— And what am I, that I should love So wisely and so well?

I think a good painting or a good work of art does many things it wants, I mean, maybe 15 or 20 or 100. One of the things a painting does is to make the room look better. It improves the wall that it's on. Which is much harder than it looks. And that's a good thing. And if one engages with a painting on that level, that's fine, that's great. After some time, familiarity, the other things that a painting does, the other layers, they just start to make themselves felt.

At the opening of our exhibition at Deitch Projects in New York we featured a wall of 10,000 bananas. Green bananas created a pattern against a background of yellow bananas spelling out the sentiment: Self-confidence produces fine results. After a number of days the green bananas turned yellow too and the type disappeared. When the yellow background bananas turned brown, the type (and the self-confidence) appeared again, only to go away when all bananas turned brown.

isaac knows how stupid i find these things, and he finds them just as stupid as i do. like lol. now, if there's anything stupider than buddy lists, it's lol. if anyone ever uses lol with me, i rip my computer right out of the wall and smash it over the nearest head. i mean, it's not like anyone's laughing out loud about the things they lol. i think it should be spelled loll, like what a lobotomized person's tongue does. loll. loll. i can't think any more. loll. loll!

Someone with whom we have a lifetime's worth of lessons to learn is someone whose presence in our lives forces us to grow...those who consciously or unconsciously challenge our fearful positions. They show us our walls. Our walls are our wounds--the places where we feel we can't love any more, can't connect any more deeply, can't forgive past a certain point. We are in each other's lives in order to help us see where we most need healing, and in order to help us heal.

Look at yourselves. Some of you teenagers, students. How do you think I feel and I belong to a generation ahead of you - how do you think I feel to have to tell you, 'We, my generation, sat around like a knot on a wall while the whole world was fighting for its hum an rights - and you've got to be born into a society where you still have that same fight.' What did we do, who preceded you ? I'll tell you what we did. Nothing. And don't you make the same mistake we made.

One summer day, while I was walking along the country road on the farm where I was born, a section of the stone wall opposite me, and not more than three or four yards distant, suddenly fell down. Amid the general stillness and immobility about me the effect was quite startling. ... It was the sudden summing up of half a century or more of atomic changes in the material of the wall. A grain or two of sand yielded to the pressure of long years, and gravity did the rest.

When I stopped touring, it was like trying to stop a bullet train or a giant lead ball falling from a 100 stories up - it's momentum and it doesn't just stop. I drew a line in the calendar and made it a brick wall and just stopped dead. There was no other way. It would've taken another 100 years to slow down slowly. I had to let myself imagine a calendar with no lines; when every single day is being predetermined six months in advance, there's no more fluidity to time.

We are finally living in Plato's cave, if we consider how those who were imprisoned within the cave - who could do nothing but watch those shadows passing on the back wall - were convinced that those shadows were their one and only reality. I see a profound similarity to all this in the epoch we're now living in. We no longer live simply through images: we live through images that don't even exist, which are the result not of physical projection but of pure virtuality.

The spectacular landscape circling the fortress supplies an essential backdrop, inspiring dreamers to wander its ruins for the sake of it; North American tourists, bound down by their practical world view, are able to place those members of the disintegrating tribes they may have seen in their travels among these once-living walls, unaware of the moral distance separating them, since only the semi-indigenous spirit of the South American can grasp the subtle differences.

Don't hang a dismal picture on the wall, and do not daub with sables and glooms in your conversation. Don't be a cynic and disconsolate preacher. Don't bewail and bemoan. Omit the negative propositions. Nerve us with incessant affirmatives. Don't waste yourself in rejection, nor bark against the bad, but chant the beauty of the good. When that is spoken which has a right to be spoken, the chatter and the criticism will stop. Set down nothing that will not help somebody.

The script is a starting point, not a fixed highway. I must look through the camera to see if what I've written on the page is right or not. In the script, you describe imagined scenes, but it's all suspended in mid-air. Often, an actor viewed against a wall or a landscape, or seen through a window, is much more eloquent than the lines you've given him. So then you take out the lines. This happens often to me and I end up saying what I want with a movement or a gesture.

Because each photograph is only a fragment, its moral and emotional weight depends on where it is inserted. A photograph changes according to the context in which it is seen: thus Smith's Minamata photographs will seem different on a contact sheet, in a gallery, in a political demonstration, in a police file, in a photographic magazine, in a book, on a living-room wall. Each o these situations suggest a different use for the photographs but none can secure their meaning.

Rather than going after our walls and barriers with a sledgehammer, we pay attention to them. With gentleness and honesty, we move closer to those walls. We touch them and smell them and get to know them well. We begin a process of acknowledging our aversions and our cravings. We become familiar with the strategies and beliefs we use to build the walls: What are the stories I tell myself? What repels me and what attracts me? We start to get curious about what’s going on.

I have supported candidates whose views are very different than mine on the need the break up Wall Street banks, on the war in Iraq, on trade issues. Of course I have supported those people. My hope is that we're going to see - and I believe it is the case - we're going to see more and more strong progressives running for office. That's my hope. That's my desire. But that is up to - that decision is going to be made by people in 50 states and 435 congressional districts.

The overscaled compositions being produced by so many abstract painters, which are full of movement and use of color, are ideal example, ideal transformations of an entire wall and entire room.... There is no denying that one of the major attractions of these successful large compositions is their structural decorative use in the contemporary scene... That these large canvases can be superbly decorative may not be considered complimentary by some of the artists involved.

But in a country where you hang your dead up on walls and pride whether or not a man bears a javelin more than his character, how am I to persuade you out of a war? It would be suicide for Kildenree to war on Bayern and butchery for Bayern to attack Kildenree. If you don't believe me, then send me back. Or if you don't trust me to leave, I'll return to my little room on the west wall and tend your geese, and you can be sure that on my watch no thieves will touch my flock.

Thus thought I, as by night I read Of the great army of the dead, The trenches cold and damp, The starved and frozen camp,-- The wounded from the battle-plain, In dreary hospitals of pain, The cheerless corridors, The cold and stony floors. Lo! in that house of misery A lady with a lamp I see Pass through the glimmering gloom And flit from room to room. And slow, as in a dream of bliss, The speechless sufferer turns to kiss Her shadow, as it falls Upon the darkening walls.

grief is a house where the chairs have forgotten how to hold us the mirrors how to reflect us the walls how to contain us grief is a house that disappears each time someone knocks at the door or rings the bell a house that blows into the air at the slightest gust that buries itself deep in the ground while everyone is sleeping grief is a house where no on can protect you where the younger sister will grow older than the older one where the doors no longer let you in or out

"I liked the feeling of love," [Jonas] confessed. He glanced nervously at the speaker on the wall, reassuring himself that no one was listening. "I wish we still had that," he whispered. "Of course," he added quickly, "I do understand that it wouldn't work very well. And that it's much better to be organized the way we are now. I can see that it was a dangerous way to live." [...] "Still," he said slowly, almost to himself, "I did like the light they made. And the warmth."

We have created a democracy that links us all, and with it come not only opportunities but obligations. There are no gates or walls high enough. There are no bank accounts large enough to buy you and your family and your friends protection from the fear and hunger of those left behind or to isolate you from the consequences of growing social inequities. We are all in this boat together. And the fact that there isn't a hole at your end of the boat doesn't mean you are safe.

The threat of a government shutdown has caused the Republicans and Donald Trump, as of now, to delay the funding for the wall until the fiscal year 2017-18 budget year, which will happen in September. This has the potential of bothering some Trump supporters. This is not nearly enough callers to make any kind of scientific statement, but every caller we took on said - delaying the wall is not what I want. The more you delay it, the greater the chance it isn't gonna happen.

What was once impossible now summons us to dismantle the walls between ourselves and our sisters and brothers, to dissolve the distinctions between flesh and spirit, to transcend the present limits of time and matter, to find, at last, not wealth or power but the ecstasy (so long forgotten) of commonplace, unconditional being. For the atom's soul is nothing but energy. Spirit blazes in the dullest of clay. The life of every woman or man-the heart of it-is pure and holy joy.

To revolt within society in order to make it a little better, to bring about certain reforms, is like the revolt of prisoners to improve their life within the prison walls; and such revolt is no revolt at all, it is just mutiny. Do you see the difference? Revolt within society is like the mutiny of prisoners who want better food, better treatment within the prison; but revolt born of understanding is an individual breaking away from society, and that is creative revolution.

Seven years I worked at the Polish deli. It's a very slow deli. So I sat around a lot on my stool at the cashier. And I'd sign my autograph on all the bags I'd put the milk in. Just everyday, practice my autograph. And the manager of the store would take some of them and tape them against the wall. And he'd say, "Some day, I'm telling you, it will be worth something." And I'm like 13, going, "Really?!" And when I go back there, he still has them on the wall. It's very cute.

It was a very aged, ghostly place; the church had been built many hundreds of years ago, and had once had a convent or monastery attached; for arches in ruins, remains of oriel windows, and fragments of blackened walls, were yet standing-, while other portions of the old building, which had crumbled away and fallen down, were mingled with the churchyard earth and overgrown with grass, as if they too claimed a burying-place and sought to mix their ashes with the dust of men.

Wall Street can be a dangerous place for investors. You have no choice but to do business there, but you must always be on your guard. The standard behavior of Wall Streeters is to pursue maximization of self-interest; the orientation is usually short term. This must be acknowledged, accepted, and dealt with. If you transact business with Wall Street with these caveats in mind, you can prosper. If you depend on Wall Street to help you, investment success may remain elusive.

No wise man will go to live in the country, unless he has something to do which can be better done in the country. For instance, if he is to shut himself up for a year to study science, it is better to look out to the fields, than to an opposite wall. Then, if a man walks out in the country, there is nobody to keep him from walking in again: but if a man walks out in London, he is not sure when he will walk in again. A great city is, to be sure, the school for studying life.

Here and there, in some older houses, old faded daguerreotypes still hang on the walls... They seem to us to be very simple... compared with the artistic and skillful portraits made in later days... Here was a photograph that at one time had been the last word, a very modern portrait... Today it is just a part of cultural history. The small yellowed surface has acquired depth, an admonishing perspective. We hold in our hand a symbol of the structure and ideology of an epoch.

People do not want to be disillusioned by the new president [Barak Obama]. The liberals felt, finally, this is our time. Now they're worried. Now what they see is more business as usual. We all want to give him the benefit of the doubt, we know it's a tough job and he inherited a mess, but at the end of the day, is it really change we can believe in when there's no public options and Wall Street reform has no teeth in it? It really looks a lot like we just changed the color.

If you stay up late and you have another hour of work to do, you can just stay up another hour later without running into a wall and having to stop. Whereas it might take three or four hours if you start over, you might finish if you just work that extra hour. If you're a morning person, the day always intrudes a fixed amount of time in the future. So it's much less efficient. Which is why I think computer people tend to be night people - because a machine doesn't get sleepy.

Remain faithful to the earth, my brothers, with the power of your virtue. Let your gift-giving love and your knowledge serve the meaning of the earth. Thus I beg and beseech you. Do not let them fly away from earthly things and beat with their wings against eternal walls. Alas, there has always been so much virtue that has flown away. Lead back to the earth the virtue that flew away, as I do—back to the body, back to life, that it may give the earth a meaning, a human meaning.

He was the first to reach the aircraft, and he went for the door that by some miracle was facing outward and not into the concrete wall. Wrenching the thing open, and getting out his flashlight, he didn’t know what to expect inside—smoke? Fumes? Blood and body parts? Zsadist was sitting rigid in a backward-facing seat, his big body strapped in, both hands locked on the armrests. The Brother was staring straight ahead and not blinking. “Have we stopped moving?” he said hoarsely

Sometimes, in the course of my hopeless quest, I would pick up and dip into one of the ordinary books that lay strewn around the castle. Whenever I did, it seemed so insipid and insubstantial that I flew into a rage and hurled it at the wall after reading the first few sentences. I was spoilt for any other form of literature, and the mental torment I endured was comparable to the agony of unrequited love compounded by the withdrawal symptoms associated with a severe addiction.

Women and LBGT people have the advantage that they are everybody's son, daughter, cousin, nephew, aunt, uncle. They are in a position to change hearts, and you saw it happen actually. African-Americans, not so much. They are separated from the white oppressive population by geography, housing, segregation, centuries of slavery. There is a tremendous wall between black America and white. I would say you open the door with the force of law, and then you can start to change hearts.

Truth is within ourselves; it takes no rise From outward things, whate'er you may believe. There is an inmost centre in us all, Where truth abides in fulness; and around, Wall upon wall, the gross flesh hems it in, This perfect, clear perception-which is truth. A baffling and perverting carnal mesh Binds it, and makes all error: and to know Rather consists in opening out a way Whence the imprisoned splendour may escape, Than in effecting entry for a light Supposed to be without.

Today I believe that man cannot escape his destiny to create whatever it is we make - jazz, a wooden spoon, or graffiti on the wall. All of these are expressions of man's creativity, proof that man has not yet been destroyed by technology. But are we making things for the people of our epoch or repeating what has been done before? And finally, is the question itself important? We must ask ourselves that. The most important thing is always to doubt the importance of the question.

The young man [Turgot] destined for an ecclesiastical career was placed within walls carefully designed to keep out all currents of new thought; his studies, his reading, his professors, his associates, all were combined to keep from him any results of observation or reflection save those prescribed: probably, of all means for stifling healthy and helpful thought, a theological seminary, as then conducted whether Catholic or Protestant, Jewish or Mohammedan, was the most perfect.

My definition of art has always been the same. It is about freedom of expression, a new way of communication. It is never about exhibiting in museums or about hanging it on the wall. Art should live in the heart of the people. Ordinary people should have the same ability to understand art as anybody else. I don’t think art is elite or mysterious. I don’t think anybody can separate art from politics. The intention to separate art from politics is itself a very political intention.

The psychotic does not merely think he sees four blue bivalves with floppy wings wandering up the wall; he does see them. An hallucination is not, strictly speaking, manufactured in the brain; it is received by the brain, like any 'real' sense datum, and the patient act in response to this to-him-very-real perception of reality in as logical a way as we do to our sense data. In any way to suppose he only 'thinks he sees it' is to misunderstand totally the experience of psychosis.

There are elements of intrinsic beauty in the simplification of a house built on the log cabin idea. First, there is the bare beauty of the logs themselves with their long lines and firm curves. Then there is the open charm felt of the structural features which are not hidden under plaster and ornament, but are clearly revealed, a charm felt in Japanese architecture....The quiet rhythmic monotone of the wall of logs fills one with the rustic peace of a secluded nook in the woods.

But what is the way forward? I know what it isn't. It's not, as we once believed, plenty to eat and a home with all the modern conveniences. It's not a 2,000-mile-long wall to keep Mexicans out or more accurate weapons to kill them. It's not a better low-fat meal or a faster computer speed. It's not a deodorant, a car, a soft drink, a skin cream. The way forward is found on a path through the wilderness of the head and heart---reason and emotion. Thinking, knowing, understanding.

We found that if you played a bunch of punk singles in a row, people would dance like crazy and then get worn out and go somewhere else in the house. And if you played reggae all the time, people ended up leaning against the walls and nodding their head. But if you mixed it up, the floor got more and more packed, and the energy from the two types of music seemed to feed into each other, and the adrenaline from the punk, and the seductive sway of the reggae seemed to fit together.

She looked up at him with a smile. The smile broke what was left of his resistance - shattered it. He had let the walls down when he'd thought she was gone, and there was no time to build them back up. Helplessly he pulled her against him. For a moment she clung to him tightly, warm and alive in his arms. Her hair brushed his cheek. The color had come back into the world; he could breathe again, and for that moment he breathed her in - she smelled of salt, blood, tears, and Tessa.

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