A Quote by Eero Saarinen
To me the drawn language is a very revealing language: one can see in a few lines whether a man is really an architect.
Related Quotes
We believe we can also show that words do not have exactly the same psychic "weight" depending on whether they belong to the language of reverie or to the language of daylight life-to rested language or language under surveillance-to the language of natural poetry or to the language hammered out by authoritarian prosodies.
Language makes it possible for a child to incorporate his parents' verbal prohibitions, to make them part of himself....We don't speak of a conscience yet in the child who is just acquiring language, but we can see very clearly how language plays an indispensable role in the formation of conscience. In fact, the moral achievement of man, the whole complex of factors that go into the organization of conscience is very largely based upon language.
Regardless of whether one is dealing with assembly language or compiler language, the number of debugged lines of source code per day is about the same!
Public speaking is done in the public tongue, the national or tribal language; and the language of our tribe is the men's language. Of course women learn it. We're not dumb. If you can tell Margaret Thatcher from Ronald Reagan, or Indira Gandhi from General Somoza, by anything they say, tell me how. This is a man's world, so it talks a man's language.
The earliest language was body language and, since this language is the language of questions, if we limit the questions, and if we only pay attention to or place values on spoken or written language, then we are ruling out a large area of human language.
When you speak a foreign language, you become someone else. If you aren't used to speaking a language, and you start speaking it again, for the first few sentences you'll find yourself in very strange shape, because you're still the person who was speaking the first language. But if you keep speaking that language, you will become the person who corresponds to it.
The politics of language and the politics of writing really got to me. I've heard this phrase more than once now: this idea of the poetry wars, or the idea that people within the space of writing are at odds with one another or manipulating language to further one's political stance, manipulating language in ways that really felt dirty to me. All of these things worked their way into and through language for me.
There are very few places in the world where you have to learn a language with no language in common. It's called a monolingual field situation.
My role as an artist helps me tremendously in breaking down each story. Pacing, layout, movement - having drawn a few thousand pages, I understand the language of comic books very well.
The attitude of independence toward a constructed language which all national speakers must adopt is really a great advantage, because it tends to make man see himself as the master of language instead of its obedient servant.
We're living in a time when the sheer amount of language has exponentially increased. As writers, if we wish to be contemporary, I think we need to acknowledge that the very nature of the materials that we're working with - the landscape of language - is very different than it was a few decades ago.
All the academy will tell you that the language that is familiar to you is not appropriate. and that's not to say that there shouldn't be a standard, but when I come to school with my friends' language, my grandmother's language, the language in my mouth - you're going to tell me that's improper?
I had a feeling that Pandora's box contained the mysteries of woman's sensuality, so different from a man's and for which man's language was so inadequate. The language of sex had yet to be invented. The language of the senses was yet to be explored.
Mostly, I'm drawn to great characters and great worlds that use weird things for their language - whether it's dance, whether it's pop music with Justin Bieber, or whether it's magic.
Mr. Blatchford says that there was not a Fall but a gradual rise. But the very word "rise" implies that you know toward what you are rising. Unless there is a standard you cannot tell whether you are rising or falling. But the main point is that the Fall like every other large path of Christianity is embodied in the common language talked on the top of an omnibus. Anybody might say, "Very few men are really Manly." Nobody would say, "Very few whales are really whaley."
I have a funny relationship to language. When I came to California when I was three I spoke Urdu fluently and I didn't speak a word of English. Within a few months I lost all my Urdu and spoke only English and then I learned Urdu all over again when I was nine. Urdu is my first language but it's not as good as my English and it's sort of become my third language. English is my best language but was the second language I learned.
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