A Quote by Camille Pissarro
I remember that, although I was full of fervour, I didn't have the slightest inkling, even at forty, of the deeper side to the movement we were pursuing by instinct. It was in the air!
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It's crazy because I was 10 years old when 'Macarena' was all over the place, and I remember looking at it from a different point of view. I remember culturally how important that song was, even though people didn't really know what they were saying. It was more about the dance and the movement of it and the cultural side of it.
There were exceptions, a couple of families that just plain didn't want to even think about it, although forty years had passed but mostly the people were very interested in talking about it.
Those people who don't have any voluntary control, or hands, can work with the physical movement that they can do - whatever voluntary movement they have, even the slightest .
Everything we do, even the slightest thing we do, can have a ripple effect and repercussions that emanate. If you throw a pebble into the water on one side of the ocean, it can create a tidal wave on the other side.
My parents were very supportive of my chess. When I got home after a game of chess, having missed school or something, they always made me feel very welcome; I didn't feel guilty at all about pursuing chess with such fervour. They never, for instance, perceived sports as a rival to academics.
Watching him with one eye, she wondered if men ever figured out that they were more appealing when they were pursuing their own work than when they were pursuing a woman.
Existential psychotherapy is the movement which, although standing on one side on the scientific analysis owed chiefly to the genius of Freud , also brings back into the picture the understanding of man on the deeper and broader level man as the being who is human. It is based on the assumption that it is possible to have a science of man which does not fragmentize man and destroy his humanity at the same moment as it studies him. It unites science and ontology .
I think that, in almost all human beings, there is buried a profound tribal instinct that makes us very susceptible to being aroused to patriotic fervour.
Yes, I remember the bombings. Yes, I remember, because - yes, I remember being in air raid shelters. Even though I was evacuated because I was very young, I remember being in air raid shelters and the tremendous feeling of compatibility with everybody.
I could say that all my books were conceived by the time I was twenty, although they were not to be written for another thirty or forty years. But perhaps this is true of most writers—the emotional storage is done very early on.
For a long time humans probably were in touch on a deeper level with the depths of their being, unconsciously so, the same way an animal or a tree is. Gradually, though, more and more of their identity went into the movement of thought. They identified more and more with the movement of thinking.
The unwritten rules of behaviour are infinite in number, finely shaded, and subtle to the last fraction of a degree. They are not to be broken. If broken, the rules of forgiveness leading to re-establishment are equally of air and iron. I learn these rules with rather less ease than my contemporaries because, in the back streets of my being, a duel is developing and increasing in fervour between my instinct which knows why something is so, and my hen-pecking intelligence which wishes to analyse why something is so.
I remember my father, who was 'somebody' in the synagogue, bringing home with him one of the poor men who waited outside to be chosen to share the Passover meal. These patriarchal manners I remember well, although there was about them an air of bourgeois benevolence which was somewhat comic.
A turning point in the public's perception of the building art came with the publication of Frank Lloyd Wright's 'An Autobiography' of 1932, a picaresque narrative that captivated many who hadn't the slightest inkling of what architects actually did.
Love is woman's eternal spring and man's eternal fall. It is a game at which men must play against stacked cards, and without the slightest inkling of the trump.
There is movement and movement. There are movements of small tension and movements of great tension and there is also a movement which our eyes cannot catch although it can be felt. In art this state is called dynamic movement.
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