A Quote by George Santayana
A dream is always simmering below the conventional surface of speech and reflection.
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My photographs don't go below the surface. They don't go below anything. They're readings of the surface. I have great faith in surfaces. A good one is full of clues.
Thus we can get the correct answer for the probability of partial reflection by imagining (falsely) that all reflection comes from only the front and back surfaces. In this intuitively easy analysis, the 'front surface' and 'back surface' arrows are mathematical constructions that give us the right answer, whereas .... a more accurate representation of what is really going on: partial reflection is the scattering of light by electrons inside the glass.
The ocean is interacting with the surface. There is a possible biosphere that extends from way below the surface to just above the crust.
You have to get inside the people you are writing about. You have to go below the surface. And that's to a very large degree what all writers are doing - they're trying to get below the surface. Whether it's in fiction or poetry or writing history and biography. Some people make that possible because they write wonderful letters and diaries. And you have to sort of go where the material is.
My photographs don't go below the surface. They don't go below anything. They're readings of the surface. I have great faith in surfaces. A good one is full of clues. But whenever I become absorbed in the beauty of a face, in the excellence of a single feature, I feel I've lost what's really there been seduced by someone else's standard of beauty or by the sitter's own idea of the best in him. That's not usually the best. So each sitting becomes a contest.
A lot of guys are walking around with a lot simmering beneath the surface, and sometimes it explodes.
The underlying tension of a lot of my art is to try and look through the surface appearance of things. Inevitably, one way of getting beneath the surface is to introduce a hole, a window into what lies below.
Behavior which appears superficially correct but is intrinsically corrupt always irritates those who see below the surface.
It's always easy to get people to condemn threats to free speech when the speech being threatened is speech that they like. It's much more difficult to induce support for free speech rights when the speech being punished is speech they find repellent.
I always think that people who are - maybe 'insane' is too strong a word, but there's more of a spiritual connection. Sometimes they can see below the surface.
The memory of oppressed people is one thing that cannot be taken away, and for such people, with such memories, revolt is always an inch below the surface.
Below the 40th latitude there is no law; below the 50th no god; below the 60th no common sense and below the 70th no intelligence whatsoever.
Now imagine that you are going beneath the surface of the ocean. Below the surface all is calm, silent, and serene. As you visualize yourself going deeper and deeper into the depths of the ocean, feel that a profound peace is entering you.
His musical inspiration operates in a world uncluttered by conventional bar lines, conventional chord changes, and conventional ways of blowing or fingering a saxophone. Such practical 'limitations' did not even have to be overcome in his music; they somehow never existed for him. Despite this - or more accurately, because of this - his playing has a deep inner logic. Not an obvious surface logic, it is based on subtleties of reaction, subtleties of timing and color that are, I think, quite new to jazz - at least they have never appeared in so pure and direct a form.
Dr. King gave the "I have a dream" speech, not the "I have a plan" speech.
Heather A. Slomski's stories are downright addictive. I kept promising myself to turn off the light after just one more, and then breaking that promise, beguiled by her cool, measured prose and by the surprises, tensions, and uncanny encounters simmering beneath its elegant surface.
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