A Quote by Hermann Kolbe
The weeds of a seemingly learned and brilliant but actually trivial and empty philosophy of Nature which, after having been replaced some 50 years ago by the exact sciences, is now once more dug up by pseudo scientists from the lumber room of human fallacies, and like a trollop, newly attired in elegant dress and make-up, is smuggled into respectable company, to which she does not belong.
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Some say that now that 50 years have passed, we would like another 50 more years to celebrate once again; that means it will be 100 years. After one hundred years, I will be 118 years old.
My mother was a mother. She didn't really work, apart from bringing us up, which a job in itself, but at an age where lots of people are thinking of retiring, so is having up to 20 or 30 engagements a day, and she's brilliant at it - she has always been brilliant with people.
...so now, Mrs. Ramsay thought, she could return to that dream land, that unreal but fascinating place, the Manning's drawing-room at Marlow twenty years ago; where one moved about without haste or anxiety, for there was no future to worry about. She knew what had happened to them, what to her. It was like reading a good book again, for she knew the end of that story, since it had happened twenty years ago, and life, which shot down even from this dining-room table in cascades, heaven knows where, was sealed up there, and lay, like a lake, placidly between its banks.
What affected me most profoundly was the realization that the sciences of cryptography and mathematics are very elegant, pure sciences. I found that the ends for which these pure sciences are used are less elegant.
I once had a boyfriend who couldn't write unless he was wearing a necktie and a dress shirt, which I thought was really weird, because this was a long time ago, and no one I knew ever wore dress shirts, let alone neckties; it was like he was a grown-up reenacter or something.
The past is always - one moment it's what happened three minutes ago, and one minute it's what happened 30 years ago. And they flow into each other in ways that we can't predict and that we keep discovering in dreams, which keep bringing up feelings and moments, some of which we never actually saw.
I think my philosophy has evolved over the years. I started teaching almost 15 years ago and I've learned that how one student learns is obviously much different than how another student learns and so I've had to figure out how to get through to people honestly without hurting their feelings - which is no easy task just in the scope of being a human being, much less in the classroom, but which is something that is more important to me now than it was when I was 30 - and to show them a path to improving.
I actually had less time and the exact same budget on Hairspray, which was few years ago and this is a much bigger movie [then Rock of Ages]. That's the way studios do it now.
China got the local currency, the yuan which is appreciating against the dollar which means that all these Chinese people have more purchasing power. And they're willing now to spend some money after saving, you know they provided America with savings for years. Now they're going to spend some money. So this means that they are willing to allow the dollar to weaken because it means that their currency, the yuan goes up, so they're actually in a winning situation.
Rhoda comes now, having slipped in while we were not looking. She must have made a tortuous course, taking cover now behind a waiter, now behind some ornamental pillar, so as to put off as long as possible the shock of recognition, so as to be secure for one more moment to rock her petals in her basin. We wake her. We torture her. She dreads us, she despises us, yet she comes cringing to our sides because for al our cruelty there is always some name, some face which sheds a radiance, which lights up her pavements and makes it possible for her to replenish her dreams.
The main three components are the blues, improvisation - which is some kind of element that people are trying to make it up - and swing, which means even though they're making up music, they're trying to make it up together. It feels great, like you're having a great conversation with somebody.
Anyway, you can't leave her like that. You can't do that to the woman. She doesn't deserve it; nobody does. You don't belong to her and she doesn't belong to you, but you're both part of each other; if she got up and left now and walked away and you never saw each other again for the rest of your lives, and you lived an ordinary waking life for another fifty years, even so on your deathbed you would still know she was part of you.
I shall no doubt be blamed by certain scientists, and, I am afraid, by some philosophers, for having taken serious account of the alleged facts which are investigated by Psychical Researchers. I am wholly impenitent about this. The scientists in question seem to me to confuse the Author of Nature with the Editor of Nature; or at any rate to suppose that there can be no productions of the former which would not be accepted for publication by the latter. And I see no reason to believe this.
The utilization of flat roofs as 'grounds' offers us a means of re-acclimatizing nature amidst the stony deserts of our great towns; for the plots from which she has been evicted to make room for buildings can be given back to her up aloft.
When I started, I was told that, for all intents and purposes, I was playing a human, which made it easier. Until they told me, 'Grace, you're a Cylon, she wouldn't do that.' And later, I learned that Cylons are actually more human than humans. This has been an ongoing exploration.
I asked a girl who came from America to England, when I was only English, and she admitted she had been to a drama school. And I said, "What did they teach you?" And she said, "They taught me to be a candle burning in an empty room." I'm happy to say she was laughing while she said it, but she meant it. I've never learned to be a candle burning in an empty room. So I go on the screen, and I say whatever I'm told to say.
