A Quote by Anthony Giddens

Apocalypse has become banal, a set of statistical risk parameters to everyone's existence. — © Anthony Giddens
Apocalypse has become banal, a set of statistical risk parameters to everyone's existence.
Other people's risks are statistical. When it's your risk, your own child, it isn't statistical anymore.
Stated as an English sentence, of course, this is just a banal platitude - but the fact is that, in the day-to-day trenches of adult existence, banal platitudes can have life-or-death importance. That may sound like hyperbole, or abstract nonsense.
I love and admire everyone who is different. I love that. The 'jet set' is banal. 'Good taste' is banal. Eccentricity is chic. Good taste paralyzes. But punk or street fashion or a tattoo-covered body, that is interesting to me, and that I love. I didn't go to fashion school. I learned from watching couture shows on TV and reading magazines. That made me dream.
Of course I’ll hurt you. Of course you’ll hurt me. Of course we will hurt each other. But this is the very condition of existence. To become spring, means accepting the risk of winter. To become presence, means accepting the risk of absence.
A banal poem is never more than a banal poem. A banal or trite lyric, however, can be - with the right vocal cords - brilliantly and shatteringly conveyed.
They just talk drivel. Whoever is winning is great, whoever isn't, isn't. It's banal. And also semi-literate at times ... they never criticise in an intelligent way. Anything that isn't banal is said to be an outburst. They've created this cartoon world where everyone talks like Lineker and says nothing.
The apocalypse is not something which is coming. The apocalypse has arrived in major portions of the planet and it’s only because we live within a bubble of incredible privilege and social insulation that we still have the luxury of anticipating the apocalypse.
I thought, because of 'The 100' and 'Apocalypse,' that I knew everything about what life after an apocalypse would be - but Ryan Murphy and the writers of 'American Horror Story' have shown a whole other side of an apocalypse.
Eugene Peterson points out that "the root meaning in Hebrew of salvation is to be broad, to become spacious, to enlarge. It carries the sense of deliverance from an existence that has become compressed, confined and cramped." God wants to set free, to make it possible for us to live open and loving lives with God and our neighbors. "I run in the path of your commands, for you have set my heart free," wrote the psalmist.
Risk is the universe's way of pushing us to become more than what we are. Risk is faith at the edge. Risk is the pulsating nature of life.
So nevertheless, what I'm saying is that what one is - one's parameters are constantly narrowed by one's success, and my desire is to widen my field even if I risk failure.
The show is '12 Monkeys,' and I'm playing the role that Bruce Willis played in the original film '12 Monkeys.' It is a show about time travel. My character is from a future post-apocalypse, and he has been given a mission to go back in time to essentially set things right and stop the apocalypse. No big deal.
The worst curse to befall anyone is stagnation, a banal existence, the quiet desperation that comes out of a need for conformity.
Education has rules and parameters. Women outperform men when the parameters are clear.
If you don't question you're stuck within a pre-existing parameters of knowledge. Questions are what take you outside of those parameters.
It's funny: when I set out to create the world of 'California,' I didn't give the type of apocalypse much thought... I simply set my two characters, Cal and Frida, in a depleted world and moved through it intuitively.
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